TV Interview: Today
Interviwer: Richard Wilkins
Canal 9 (Melbourne, Australia) 6 December 1995
Today is a morning breakfast program. The interview was presented and conducted by Richard Wilkins (lucky bugger!), pretty well respected within music circles in Australia. The interview appears to have been done in the UK/Ireland as Richard is currently over there (most probably for the Beatles Anthology).
The interview was conducted in a very cosy room, with warm lighting. Behind enya is a windowed framed with floral drapes. Behind Wilkins is a pot plant and a small landscape picture lit by a small lamp from above.
Again, the interview was mainly for the uninitiated, but was of better quality than the Today/Tonight report. Here, she looks even more beautiful.
Richard Wilkins: There are very few artists in the world who can claim to have created their own style of music. But if she wanted to, Irish songstress, enya, could do just that. Her layered harmonies and beautiful melodies are as enchanting as they are distinctive. When she had split from her family group, Clannad, not even she would anticipate the remarkable success that she and her producer/manager, Nicky Ryan, have enjoyed. A BBC soundtrack, The Celts and two studio albums, Watermark and Shepherd Moons, have 20 million in sales and now the eagerly awaited new album, The Memory of Trees.
Snippet of 'Anywhere Is' videoclip
You played all the instruments on the album.
Richard Wilkins: How many instruments did you play?
Enya: Well, my main instrument is the piano. And, then, I play a little strings, er, with, and combined with synthesizer strings. And, er, percussion. I play a bit of percussion, as well. And, of course, um, using my voice as an instrument, as well (1).
Richard Wilkins: You use that an awful lot on the album.
Enya: smiles Hm-mm. Yeah.
Richard Wilkins: Tell me, give me some insight as to how, how you do that stuff.
Enya: (looks away in thought) Um. What I would do, er, (looks at Wilkins) with the producer, Nicky Ryan, is we would, er, record, ah, the main melody (flat, sweeping right hand)... (Very thoughtful) Ah, then, um, I would, then, um, (looks at Wilkins with hands up at a distance from the ears) listen to what we recorded on headphones. And then begin to harmonise with the main melody (forefinger and thumb together - sweeping across). Then, Nicky would record the same melody, harmony, ah, maybe 20 times (pauses for a reply). And, then, I would -
Richard Wilkins: Twenty more times of you singing it?
Enya: (Precise and direct) Twenty times exactly (2) the same first harmony. (Recollects) And, then, um, I would listen back to the first harmony. And, then, I will, er, (closes eyes) work out very quickly the second harmony that would suit it (Richard Wilkins shakes his head, slightly, in disbelief) (enya looks directly back at Wilkins). And then again, it could be sixteen to twenty times of the second harmony and so forth, until you've seven part harmony. (3)
(snippet of 'Orinoco Flow' videoclip)
Richard Wilkins: You've created a whole niche for yourself, haven't you, in the music world?
Enya: (Beaming smile) Hm, yeah. (and what a smile!!!!)
Richard Wilkins: (taken aback - and, damn it, I would, too :-)) Isn't that what you've always set out to do?
Enya: (Still smiling) Um. I wasn't aware, ah, like how people would react to the music. I just enjoy what I do, so much. And it's definitely an extra bonus (chuckle) for me that is so popular.
Richard Wilkins: Do you think The Memory of Trees is the best work you've ever done?
Enya: (sincere) I still feel very strongly for Watermark and Shepherd Moons. But I feel, because, again, ah, we finished it in, in Ireland, um, I feel like I've given a 100%, because there wasn't the distraction of taking it to another city. So, um, I'm very happy with the end result.
(Finishes off with more of 'Anywhere Is' videoclip. A playful clip. Pretty intimidating to see all those 'Enyas' walking down the steps.)