The Singles Jukebox

A lot less controversial than Jim Corr’s conspiracy theories (now sadly removed from his website).

[Video][Website]
[5.77]

Edward Okulicz: The ultra-lite pop makeover of The Corrs was so masterful, so perfect, and the songs so great even before remixing, much like with their spiritual cousin Shania Twain, that I loved them as much for their music as for polite uncoolness. I’m both delighted that they’ve gone back to that template, because this sounds exactly like “Give Me a Reason” or their cover of “Dreams,” but I’m disappointed that the song is more breathless than, well, “Breathless.”
[5]

Anthony Easton: Apparently what The Corrs like is to make super-glossy high-sheen pop that might be a platonic ideal of candy. Extra point for how jarring the line about hollow ground is.
[9]

Micha Cavaseno: EDM-tinged attempts at disco-rock comebacks are a downright terrifying prospect for the future of 90s acts trying to re-emerge, but I suppose someone had to try and bring it into the realm of possibility.
[2]

Thomas Inskeep: Like Calvin Harris for grown-ups, with an actual song contained therein.
[5]

Cassy Gress: Goodness, it’s weird to hear a straightforward acoustic pop-rock cover of an EDM song.  Oh wait, that’s not what it is?
[6]

Jonathan Bogart: You get the feeling they want the music to sound like Saint Etienne, but it ends up being the synco-pep to modern Euro-bosh’s hot jazz, with local fiddle flavoring that scans more as an appeal to Eurovision voters than as a natural extension of the song’s world. 
[5]

Patrick St. Michel: As down the middle a song as you can get, but hey, do what you like.
[5]

Juana Giaimo: The Corrs are one of the bands of my childhood. I remember being impressed by the sound of the violin and how harmonious I thought the vocals were. They aren’t trendy anymore, but as I listen to “I Do What I Like”, I think that I would have loved to listen to this song as a child. It may lack some of that feeling of freedom from their mainstream releases, but it is still encouraging and fun.
[7]

Brad Shoup: It’s a partial eclipse of Belinda Carlisle’s “Sun,” wherein Carlisle’s shamanic pronouncements form a cool crown on the Corrs’ brow. After a small lifetime of being in bands, Carlisle learned to work with dance textures. The Corrs have always been a band: sometimes they get to summon their own grooves, and sometimes the groove is applied to them. Here, the disco backbeat is all Caroline. Jim’s piano suggests Coldplay, but the acoustic strumming, whistle and violin are pure Corrs. When Andrea gets to the part about paradise, she’s not transcending; when she gets to the title, I can see her shrug.
[7]

Katherine St Asaph: The sort of power-pop song rarely made anymore, condensing “Breathless” and all its breathlessness, Palmdale’s “Here Comes the Summer,” iio’s “Rapture,” a glitter shaken off Emotion, a shameless double chorus and a riff like late-afternoon sun. Also: an EDM buildup that anchors it to 2014, a few wonky vocals (“this girl is hungry” elicits a cringe) and a fantasy conceit that’d be unusual and nuanced were its blue-sky-sun fantasy not even less celestial than Coldplay. The former outweighs the latter, but not by much.
[6]

Scott Mildenhall: “Walking on a Dream” as performed by The Corrs is exactly what The Corrs should be doing in 2016, so what serendipity that they are. They invented this stuff, probably: the Tin Tin Out school of late 90s subtly electronic MOR, keeping local radio playlists full from there to eternity. There’s a disappointing dearth of Celtic influence here, but it would nonetheless be a solid choice between Texas’ “Inner Smile” and Tina Turner’s “When the Heartache is Over”.
[6]

Will Adams: Rock-inflected dancepop is an easy in for me, whether through the indie-cool of Catcall or the processed cheese of Milky. “I Do What I Like” features some outdated tricks (namely the backing vocals reflecting the “it’s my liiiife”), but it’s breezy and serviceable, so I can’t fully deny it.
[6]

Alfred Soto: “Breathless” represented Mutt Lange’s last gasp: a candy-colored groove in which the synths and guitars are indistinguishable, a carousel of hooks. Of course noted pop critic Patrick Bateman loved it. The self-written “I Do What I Like” is almost at this level.
[6]