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SPOTLIGHT AL: I did. I didn’t expect to write a song. I went into the studio the one day and I had this title


in my head. But I certainly wasn’t thinking I was going to write a song about it. I was working with my co-producer on another song that we were recording, and just in the interim, as I do—when I sit at a keyboard I always play spontaneously—a few lines came out, and chords that I thought were beautiful. All of a sudden it seemed like this song was starting to emerge, so I stopped that session and said let’s accommodate this. Let’s try and see if a song can be written. By the end of the day we had it down. It was all recorded.


Rage: Your lyric on “Universal Child,” “I see hurt, I see pain, I see the human race.” It really strikes an emo- tional chord listening to the song. AL: People do get tearful when they listen to music that touches them. There is that feel- ing in the song. I had a run through the order of the album a few weeks ago, and we were playing it to various people in a very nice, intimate setting. Everyone had a lovely evening, and everybody was chatting through it—which is fine, because [the album] is very celebra- tory, anyway. But when it came to “Universal Child,” the whole room just went very quiet and became very reflective. And I love that. That’s the effect I want to have.


Rage: Was it at all difficult to create a Christmas album in the spring? AL: I had no problem with that. Music is something that’s internal. I don’t require there to be the snow outside or Christmas trees. Music is just instantly accessible to me, no matter where I am. Actually I’ve just been carrying these kinds of songs with me all through the years. It’s also a labor of love because I love the songs and they were part of my upbringing and part of my life.


Rage: What is one of your most vivid memories of being a child at Christmas time? AL: We would go from school walking up the road to the church where the


Christmas carol service would be, and it was always very beautiful because they would always have a very tall Christmas tree. I think it’s something about the Christmas tree. I can’t quite put my finger on it. It’s the sparkle. It’s the lights. It’s the smell of the pine. It’s the presents. There’s some- thing almost mystical about it. And everybody loves that. It’s just precious and celebratory. So whenever I see a Christmas tree I always feel good. It lifts my spirits.


Rage: Having the South African Children’s Choir on the CD is a wonderful touch. How did you come to work with them? AL: I encountered them in 2004. They were performing, as I


was, for Nelson Mandela’s 44664 campaign in George, South Africa. I just saw all these beautiful kids and I was so captivat- ed by them and how they dance. They just sort of represent how I’d like African kids to be—to have the opportunity to be healthy and well, full of life and well-nourished and happy. And knowing that there are millions of kids living in challenging circumstances, I love the story of how the choir is a transforming tool for many kids’ lives.


Rage: When you set out to do this album, did you have any worry about how doing your take on such traditional songs would be perceived? AL: No. I wasn’t worried about anybody else’s recordings and I wasn’t even aware until


recently that there’s such a big Christmas market, so to speak. I didn’t particularly want to listen to other people’s versions. I just chose the songs that I love and I just trust that people might be interested and want to hear my take on them.


Rage: Did you celebrate when you finally finished the album, since it was such a dream of yours for so long? AL: I haven’t had a chance, to be honest with you! When you’re an artist, your work never


feels that it’s done. A particular project might come to an end or to a certain closure point, but it’s always with you. Your work is never really completed until you decide you’re going to stop.


annielennox.com A Christmas Conucopia is available now.


All photography by Mike Owen 38 RAGE monthly | DECEMBER 2010


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