As heard in “La que no podía amar”…
[Video][Website]
[5.88]
Iain Mew: This basically ends up as a by-the-numbers Snow Patrol mid-tempo song in a language that I don’t understand. (What’s that? “Corre” actually means “Run”? I swear, I did not set that one up deliberately!) Yet I enjoy “Corre” a great deal more than that suggests for two things it does on its way there. First of all the unforced intimacy that comes across in Joy’s voice in the initial verses, which codes Swedish indie-pop more than anything to me. Secondly, the magnificent swish of retro space synth across the song at 3:40 which lights the place up before dying a flatlining death ten seconds later and never coming back — a lovable addition to any formula.
[7]
Jonathan Bogart: The dramatic beauty of the piano-and-guitar arrangement is fine — like a Mexican Swell Season, if such a thing needed to exist — but it’s the warm 70s synth burbling in over the bridge, ratcheting down the potential floridity of emotions to a healing evenness, that makes it the rare ballad worth sticking around for when it twinkles across the radio.
[7]
Anthony Easton: Melodramatic, where the softness becomes so overwrought that it becomes more than hard — plus I am always a sucker for twinkling piano.
[7]
Alfred Soto: So pretty it’s anonymous.
[4]
Brad Shoup: Wish they could’ve found a way to integrate the Sigur Rósy intro with the delicate ballad. I also wish it was Couples’ Skate circa 1993.
[6]
Edward Okulicz: A ballad like this isn’t going to be everyone’s cup of tea, but even a cynic can hear lots to like in it. Joy has a strong voice, for starters, and would be well-at-home singing just about everything from a power ballad to a sweet trifle, and “¡Corre!” shifts enough to give us a few data points to prove it. The longing melody of the chorus brings to mind U.S. country more than anything Latin as its inspiration, too.
[8]
Jonathan Bradley: The instrumentation does the remarkable trick of bringing to mind both Dream Academy and Buddy and Julie Miller, and the barely functional Spanish speaker in me is charmed by the chorus of “corre, corre, corre, corazón.” None of that erases my disappointment in Jesse and Joy’s inability to build to anything greater than slushy mid-tempo plod. Surely the exclamation points in the title need to be earned?
[4]
Katherine St Asaph: It took that long to dub “I Hope You Dance” into Spanish?
[4]