This is followed by what was the follow-up second single, Evening Falls…which once again, gives Enya the perfect place to showcase her beautiful vocals, and vocal range. It’s synthy, pulsing, with a wonky orchestra feel and a relaxing set of vocals. This song stood out amongst the rest in 1988, and was pushed up the charts by Radio 1 DJs. This was the track that brought a then 27yr old Enya huge success, and I can remember her performances on Top Of The Pops – like a Princess Leia of Piano with her black grand, white dress, and red roses scattered around. This is a warm gentle piano instrumental.įinally! The seventh track is *that* big lead single Orinoco Flow (Sail Away). Next up is the wonderfully titled Miss Clare Remembers, weighing in at just under 2 mins long. It doesn’t appear to have charted in the UK singles chart.
It’s a gentle song, and one that is thoroughly tinged with an Irish sound. This seems to have been due to the song appearing in films Green Card (1990) and Steve Martin film L.A. In contrast to Orinoco Flow, the song stalled at #41 in the UK singles chart.Įxileis next, and this was the fourth and final single from the album, released in 1991 (almost 3 years after this album). Enya sings in her native Irish language, although when released as a single, the track’s pace was upped, sung in English, and subtitled ‘Part II’. This is followed by third single Storms In Africa, which is carried by a pulsating synth line. The focus here is the very rich, gentle, vocals, and a wonderfully sad and perfectly complimenting clarinet. Unsurprisingly, it turns out that Enya had previously worked with Sinéad in 1987 on her song Never Get Old. Up next is On Your Shore, which quickly reminds me of something you’d find lurking in the back catalogue of Sinéad O’Connor. The lyrics are scant here, a kind of chanting style. Those trademark Enya vocal choruses are soon in as the track builds.
The pace quickens for second track Cursum Perficio, again led by pianos, but this feels far more up-beat and modern. This very much reminds me of something you might find on the Twin Peaks soundtrack by Angelo Badalamenti. Warm synthscapes compliment the piano as it builds with some gentle choral vocals and cello. The album opens with the title track Watermark, a gentle, beautifully tinkling piano-led instrumental. It’s hard to fit Enya into a genre, but it’s often guessed at ‘New Age’. This bi-lingual album was given to me, so including it here is a natural choice, even if the genre is a little different from others reviewed here.
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