By Todd Lavoie
Comeback of the year? Edwyn Collins, definitely. Back in February 2005, Collins – the former leader of jaunty Scottish post-punk charmers Orange Juice and a solo artist best known for the 1994 vibraphone-peppered finger-snapper “A Girl Like You” – suffered two cerebral hemorrhages that left him hospitalized for months. After undergoing extensive operations, he was unable to speak, and with the workings of the brain remaining a bit of mystery despite all of our progress in medicine, doctors were uncertain as to when he would regain his voice, if at all. Mercifully, Collins’s rigorous neurological rehabilitation program was enormously successful, and the whip-smart crooner got his velvet-and-stinging-nettles baritone back. A gradual process, obviously, but his recovery was coming along at such a steady clip that earlier this year he decided to work on the material he’d recorded prior to his near-fatal attacks. Apparently the road to wellness has been rather smooth for Collins. Here we are, only a few months later, and Home Again (Heavenly/EMI) is already out. And it’s fantastic.
From what I’ve gathered from recent interviews, nearly all of the music on Home Again was recorded before the hemorrhages, which meant the only work that remained to be done was the mixing. However, that’s a mighty big “only” when you consider that Collins’s recovery was a two-step process: first he had to re-acquire the faculties to make words and sentences, and then he had to re-familiarize himself with the sound of his own voice. For a singer – whose sense of identity is so deeply, fundamentally tied to having an intuitive understanding of the voice – such a setback must be daunting beyond belief.
In one interview, Collins revealed that when he was first recovering in the hospital, all he wanted was silence. Gradually, that position changed and all he wanted was his guitar, but it would take months before he was able to indulge that desire. Re-acquiring his voice meant much more than being to able to produce sound with his lips and tongue. It also meant a great deal of (self-)exploration, learning how to use the voice more effectively for conveying emotion. Listening to the tapes in his home studio initially was much like getting to know a stranger, he described in another interview. Chalk it up to a crack team of physical rehabbers and some seriously scrappy fortitude, I suppose, because Home Again is a clear sign that Collins possesses total control of his instrument. If the pre-illness Collins was indeed a stranger upon re-introduction, it mustn’t have taken long before the barriers were broken down and a deeper understanding was achieved.