ANNIE LENNOX

Revisiting the music of her childhood while looking ahead

If Annie Lennox had done nothing in her life except sing “Sweet Dreams (Are Made of This),” the 1983 No. 1 smash that helped define that decade, her place in pop history would be secure. But there’s been no stopping her for nearly three decades. With the Eurythmics—the duo she formed in 1980 with Dave Stewart—Lennox scored hit after hit, from “Here Comes the Rain Again” to “Missionary Man” to “Would I Lie To You?” before striking out on her own in the ’90s. Lennox displayed her considerable pipes and distinctive style in a variety of settings on carefully crafted multiplatinum albums like Diva and Medusa. Her solo career continued apace through the millennium’s first decade, following a brief reunion with Stewart in the late ’90s.

Lennox’s latest release is A Christmas Cornucopia, which finds her returning to some of the carols she heard while growing up in Scotland and offering one new song of her own. The album, produced by Mike Stevens (who also collaborated with her on 2007’s Songs of Mass Destruction) is an appropriate addition to the Lennox canon, as the singer was born on Dec. 25, 1954.

But for all of her accomplishments—she’s sold more than 80 million albums worldwide, including her Eurythmics work—Lennox’s greatest impact may ultimately take place outside of the entertainment business. With her own Annie Lennox Foundation and SING campaign, Lennox has devoted herself to fighting the scourge of AIDS and HIV among women and children in Africa. Lennox’s proceeds from the lone original on Cornucopia, “Universal Child,” will go to the Annie Lennox Foundation. “I felt very strongly that if that song was to have a presence then I don’t want to put the money into my own bank account,” she says. “I’d rather utilize the song as a tool to support the work that I do with HIV.”

Why make a holiday album?

I’ve always had the idea that one day I was going to take the opportunity to record my favorite carols for posterity. I just adore them so much. It’s not because it’s a good career move or I felt I should do this. It’s a true labor of love.

What makes this record unique?

I suppose the honest answer to that is me. If you’re interested in my voice and my musicality and my interpretation, that’s what you will get. You’re going to get my taste and my take.

Some of the songs are quite obscure.

I used to sing in choirs as a kid, and the choirmistress had a wonderful repertoire of songs that she introduced us to. Some of them come from her knowledge and what she passed down. I was drawn to them because they have a particular resonance for me. The words of “In the Bleak Midwinter”—“Frosty wind made moan, earth stood hard as iron, water like a stone”—that is timeless poetry, something so extraordinary. As a lyricist and performer, I’m struck by these words and the beauty of the haunting melody. All of these songs have their own characteristics.

Are you religious yourself?

I don’t practice any particular form of religion. I find it profoundly ironic that most of the conflict in the world is exacerbated by different religious viewpoints. That really troubles me and makes me feel incredibly dark. It’s odd to sing songs about Christ and all of that, but on the other hand, the songs are very close to my culture, my life and my upbringing. I think of them as metaphors, in a way.

“Universal Child” is the only song you wrote. How did that come about?

I hadn’t intended to write a single song for this album, but one day a title came to mind, “Universal Child,” and it stuck around in my head for a few days. During a moment in the studio a couple of lines came to mind, and I realized it could develop into the seed of a song. By the end of the day, the song had been completed.

How is working with Mike Stevens?

We work very fast and very simply. We go to his studio, which used to be a garage—just one room with a small sound booth. I sit at the keyboard and we have infinite sounds, which is beautiful. I draw from my memory: What do I feel like doing today? Then I might find my key and play with chordal structures. That’s the beginning of the mood, that’s the atmosphere. We’ll put some simple tempo down and piece it together. Once all that is down, I’ll start to put the vocal part down because I like to have that as a guide.

Is covering a song as satisfying as singing one you’ve written?

I love to sing any song, as long as I love it. You can’t sing a song you don’t like. Why would you? And it has to be something that you bring into yourself and then you get it out to the world in your way.

Is your writing very personal?

I think everybody who writes songs is bringing themselves to the table. Whether they’re doing it autobiographically or metaphorically, it doesn’t really matter because what you’re addressing is a universal experience that people feel. If you listen to all great songs, there’s something in there you identify with. It’s profoundly inspiring.

How do you feel about awards?

It’s a huge compliment, obviously, and very nice, but I don’t consider myself that person. How do you grade a voice? It’s like a dog show. How do you grade a dog? What’s the best voice? It’s not about that. Bob Dylan is probably not the best singer in the world, but he’s Bob Dylan. It’s about the character and the integrity and about how people hear you.

How do you look back on the Eurythmics?

I’m very proud of what Eurythmics did, visually and aurally. I think we wrote and recorded some very classic songs that are timeless. It’s part of my catalog and part of my archive. A hell of a lot of creative stuff went down there.

Might there be another reunion?

I never say no because I feel that’s too complete. But at the same time, I like the autonomy of being my own person, and I feel that what Eurythmics did was so precious and special that I don’t know about going back there. I think I want to have another chapter.

What’s next?

There’s so much more to do. I’m really informed by my curiosity. I’m intrigued with life, and that appetite hasn’t lessened, it’s gotten stronger. I’m never bored and never challenged as to what do next. I’m on a journey now—it’s so fascinating, so vital and I feel so privileged to be an artist. That’s what I wanted to be all along and that’s who I am.

–Jeff Tamarkin

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