Ten Feet High - Andrea Corr

For a brief period in 1997/98, The Corrs were one of my favourite bands (probably helped by that time in Birmingham when Caroline Corr blew me a kiss). It helped that I'd "discovered" them before they got really huge, around the time of their debut album, but of course that also meant that even as Talk On Corners was propelling them to worldwide success I was beginning to get bored of them (and the lamentable In Blue killed me off).

The first question that springs to mind is that in 2007 do we really need to hear any more from The Corrs, never mind a solo album from Andrea? Perhaps not but whilst it's clear from only the most cursory of glances that this is a far from essential project, it is considerably better than the three previous Corrs albums which has to count for something does it not?

At times, such as Anybody There, Hello Boys or Champagne Through A Straw you find yourself impressed. They are catchy numbers and whilst they may not be anything exceptionally new would you, for instance, have ever thought you'd heard Andrea Corr attempting to ape Goldfrapp (Hello Boys) or incorporating a catchy latin rhythm to great effect (Champagne...)?

The problem is that for most of the rest of the album, the effect is less pleasing. Rather than really going for it, Corr and producer Nelee Hooper have gone so far and then receded back to what you would expect to hear. So whilst some of the album is good, there's more of it that's distinctly mediocre. In a lot of ways its better than I thought it had any right to be, but also not as good as it's best tracks suggest it might have been.

One thing I can't decide on mind you is the merits of the Squeeze cover. Genius reworking or pointless novelty? Hmm...

Single Releases 18/06/07

Kate Nash releases Foundations this week. I'm not going to lie, I'm in love with her. That said, even though I am biased Foundations is insanely catchy and really very good indeed. As I've said I can see why people might be disinclined to like her, but to them I merely repeat what I've said before; you are wrong.

I really don't like that new Editors one. Whilst not a huge fan, I did enjoy their debut album but this one sounds like they've gone ever so slightly Coldplay.

4 In The Morning by Gwen Stefani is the other song from her album (alongside that last single) that is any good, so I approve!

I can't however approve of the latest Mel C single. It's awful and leaves you in no doubt as to why she's suddenly keen to reunite the Spice Girls, even if it is for one night only (Wembley anyone?).

I wanted to like Misery Business by Paramore more than I actually do. Having said that, whilst distinctly underwhelmed by the single, I do have more love for the album (review will follow at some point) so I'm not completely down on them.

I still, three singles in, don't see the point of Just Jack.

The Bravery have changed. They're still not any good though.

I'd Wait For Life is exactly the kind of crap that record companies think is "pop" and will appeal to the Radio 2 audience. Shame on you Take That.

I'm told this Robin Thicke fella is huge in the States. I hope he never makes it over here, but no doubt he will. Lost Without U is the kind of thing that would fill up space on a Justin Timberlake album, and I don't mean that in a good way.

It will of course outsell Siobhan Donaghy's sublime So You Say by about a million to one. That's just life I'm afraid.

That new Chemical Brothers one is choooooooooooooon!

I don't really find myself warming to Shame On You by Andrea Corr. It's amazing to think that for a time about 10 years, I thought the Corrs were brilliant and now I couldn't care less about them. And that's not me being "cool" or anything, I've just grown sick of them.

Marie Miller is a super-model who likes the films of Alfred Hitchcock. I'm not even going to spoil our burgeoning relationship by listening to her new single, No Ordinary Girl...ok, I thought I better listen to it. It's not too bad. Stars have been made out of a lot less.