The Corrs

With their sparkling, sisterly harmonies and knack for breathless pop, the sibling act the Corrs come off somewhat like Ireland's belated answer to ABBA -- or, given their respectable instrumental chops and photogenic looks, a Gaelic Dixie Chicks (albeit with a dude, brother Jim, on guitar). Unfortunately, while there seems to be much potential here, too often the music slips into forgettable adult contemporary mush -- making the occasional lovely instrumental (showcasing Sharon Corr's fiddle, lead vocalist Andrea's tin whistle, and drummer Caroline's bodhran) or indelibly catchy pop jewel (like In Blue's hit "Breathless") almost frustrating. Forgiven, Not Forgotten is immaculately sung, forgettable fluff, like Wilson Phillips without the hooks. Said hooks start to come out of hiding on Talk on Corners -- released stateside as a remix-heavy "Special Edition" -- which dispenses with the instrumental interludes almost entirely in favor of unadulterated high-gloss pop. It's still fluff, but giddy trifles like "So Young" are not without some charm. But be forewarned -- the Corrs' otherwise harmless cover of Fleetwood Mac's "Dreams" is presented here as a numbing dance mix.

In Blue, buoyed by the near-flawless "Breathless" and two other sugar bombs produced by hit maestro Robert John "Mutt" Lange in the same dare-you-to-resist-this style of Shania Twain (one is actually called "Irresistible"), is far and away the Corrs' most consistent studio effort. The two live albums, however, are the better value. Unplugged isn't quite the lively Irish reel showcase one might expect (there are only two instrumentals), but the sisters' crystal-clear harmonies soar over the stripped-down arrangements, and the closing cover of R.E.M.'s "Every-body Hurts" is a nice touch. Inspired -- if not quite definitive -- covers also light up Live in Dublin. Pretty but featherweight versions of Neil Young's "Only Love Can Break Your Heart," Jimi Hendrix's "Little Wing," and the Stones' "Ruby Tuesday" all float away without much impact (despite help from guest Ron Wood), but U2's Bono -- in typical spotlight-hogging form -- lends genuine soul and weight to the proceedings by singing with Andrea on alt-country brat Ryan Adams' gorgeous "When the Stars Go Blue" and the old Lee Hazlewood/Nancy Sinatra hit "Summer Wine."

Bono pops up again (as a songwriter) on the studio set Borrowed Heaven via "Time Enough for Tears," a ballad cowritten with Gavin Friday and Maurice Seezer, though it's the Corrs' own slowly percolating "Hideaway" that really evokes shades of prime U2. Too much of the rest of the album seems to be trying a little too hard, though. There's no denying the catchiness of songs such as the single "Summer Sunshine," but the insistent hooks seem to pander and force their way into the head rather than charm with the polished-but-endearing finesse that carried "Breathless." Borrowed Heaven's most memorable and engaging melodies are all packed into the closing "Silver Strand," the album's sole instrumental -- proof that the Corrs are at their best when it sounds like a hit single is the last thing on their minds. (RICHARD SKANSE)

From 2004's The New Rolling Stone Album Guide