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thisispop
post Feb 3 2007, 01:54 PM
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Take That
Biography by Stephen Thomas Erlewine

As the most popular teen pop sensation in Britain since the '60s, Take That ruled the U.K. charts during the first half of the '90s. In strict commercial terms, the band sold more records than any English act since the Beatles, though the cultural and musical importance was significantly less substantial. Conceived as a British answer to New Kids on the Block, Take That initially worked the same territory as their American counterparts, singing watered-down new jack R&B, urban soul, and mainstream pop. Eventually, the group worked their way toward Hi-NRG dance music, while also pursuing an adult contemporary ballad direction. Take That's boyish good looks guaranteed them a significant portion of the teenybopper audience, but in a bizarre twist, most of their videos and promotional photos had a strong homosexual undercurrent — they were marketed to pre-teen girls and a kitschy gay audience simultaneously. Take That was also able to make inroads in the adult audience in Britain through Gary Barlow's melodic, sensitive ballads. For nearly five years, the group's popularity was unsurpassed in Britain, as they racked up a total of seven number one hits. By the middle of the decade, all of the members were entering their mid-twenties and became disenchanted with each other. Furthermore, the pop music tastes in Britain were shifting toward the classic guitar pop sounds of Brit-pop bands like Blur and Oasis, who were able to appeal to both the indie rock and teen pop audience. Consequently, the group called it quits in 1996, as Oasis began to surpass Take That both in terms of sales and cultural impact. Nevertheless, Take That remained one of the most interesting and popular British teen pop phenomenons not only of the '90s, but of the rock & roll era.

Gary Barlow (born January 20, 1971) was always the central figure of Take That. As the lead vocalist and songwriter for the band, he determined their musical direction. As a child, Barlow was already a gifted musician and, by the age of 14, he was playing organ in Ken Dodd's supporting band. One of Barlow's first songs, "Let's Pray for Christmas," was a finalist in an original Christmas song competition on the BBC television show Pebble Mill. In his late teens, he came in contact with Mark Owen (born January 27, 1974) and Robbie Williams (born February 13, 1974), two other young musicians that came from middle-class backgrounds. Williams' father was a comedian and his mother was a singer; before the formation of Take That, he had briefly appeared in the British soap opera Brookside. Owen had previously auditioned and failed for the football team Manchester United. The trio formed the Cutest Rush, which had a short-lived career. Record producer/manager Nigel Martin Smith had the intention of putting together a British pop group in the vein of New Kids on the Block, and approached the members of the Cutest Rush. Barlow, Owen, and Williams agreed, and along with Jason Orange (born July 10, 1970) and Howard Donald (born April 28, 1968) — two former members of a breakdancing troupe called Street Beat — they became Take That in 1990.

After a few brief tours through gay English nightclubs, Take That released their debut single, "Do What U Like," on their independent Dance U.K. label in July of 1991. "Do What U Like" became a minor sensation, primarily because the video was quite suggestive, and featured the band's bare behinds. The single caused enough uproar for RCA Records to sign the group in the fall of 1991, and their first single for the label, "Promises," scraped the Top 40 by the end of the year. In early 1992, Take That underwent a Safe Sex club tour to support their third single, "Once You've Tasted Love," but the record only reached number 47. The band didn't break into the big-time until that summer, when their cover of Tavares' "It Only Takes a Minute" reached number seven. Following the single's success, Take That became a British media sensation, which set the stage for the group's debut, Take That and Party, to debut at number five upon its release in the fall. Within a month, the single "A Million Love Songs," reached the Top Ten. At the end of the year, the group took home no less than seven awards at the Smash Hits Awards, and the debut continued to climb the charts, peaking at number two. Early in 1993, the group's number three cover of Barry Manilow's "Could It Be Magic" won a Brit award for Best British single; shortly afterward, "Why Can't I Wake up With You" reached number two.

Despite their massive success in Britain, the American release of Take That's debut in early 1993 went virtually unnoticed, even though it was supported with a marketing campaign that placed the band on cereal boxes. Their lack of American success went unnoticed, however, when "Pray," the first single from their forthcoming second album, entered the charts at number one. In the fall, "Relight My Fire," which featured a cameo from Lulu, reached number one. Everything Changes, the band's second album, entered the charts at number one upon its October release. Throughout the end of 1993 and 1994, Everything Changes yielded hit singles, with the majority of the releases making their way to number one. Though it was a huge success in the U.K., Canada, and Europe, the album was never released in the United States.

As Take That was preparing their third album, Britain's musical tastes were beginning to change, shifting away from the group's trademarked lightweight dance-pop and toward classic British guitar pop. Blur, Oasis, and Pulp became serious contenders for Take That's popularity, and the group didn't ignore the threat — they just responded to it in different ways. Gary Barlow plowed on ahead with Take That, but the first single from the forthcoming third album, "Back for Good," was more substantive than any of their previous singles and earned them good reviews from all quarters of the press. However, the single suggested that Barlow was beginning to distance himself from the band and he wasn't the only member to act in such a manner. In particular, Robbie Williams was becoming known as the "wild" member, and was alienating himself from the rest of the group. Nobody Else, the band's third album, was a number one hit upon its spring release, but Williams was noticeably quiet on the record. During the summer of 1995, it became evident that he was getting ready to break away from Take That. Williams began tagging along after Oasis, who were notorious for their drug and alcohol intake. He became the target of a number of tabloid reports of his bad behavior, and he began bragging to the weekly music press that he was working on solo material that sounded like Oasis. So it didn't really come as a surprise when he left the group in July of 1995, announcing that he was working on a solo album. Following his departure, Take That immediately removed his name and likeness from all promotional and commercial material; his face didn't even appear on the cover of the American release of Nobody Else.

Williams wasn't the only member of the group feeling the pinch of the Brit-pop revolution. Since every member of Take That were young men in their mid-twenties, searching for their own identities and desperate to retain credibility, they were beginning to feel uncomfortable with the shiny, polished pop that their group had trademarked. All of the members, that is, except Gary Barlow, who had decided that he was the heir to the throne Elton John and George Michael once held. As the group was unravelling, "Back for Good" was taking off on American radio, getting heavy airplay on adult contemporary and Top 40 radio stations, as well as MTV, which helped set the stage for a solo career that Barlow was clearly planning.

So, it didn't really come as a surprise when Take That announced they had broken up on February 13, 1996. Following the press release, Take That released a greatest hits collection, with their final single, a cover of the Bee Gees' "How Deep Is Your Love?," entering the charts at number one. Barlow began working with a batch of professional songwriters, including Diane Warren, releasing a single in the summer that showcased a more mature side of the singer. It debuted at number one, but was knocked out of the pole position by Spice Girls, a dance-pop group that was touted as the female Take That. Mark Owen, for his part, began working on a solo album that was heavily influenced by Paul Weller and Radiohead. Orange and Donald declined to begin solo careers.

And Williams? He released his first solo single in the summer of 1996. Despite his initial reports, it didn't sound a thing like Oasis. It was a cover of George Michael's "Freedom 90" that quickly fell off the charts. Three other singles followed all with decreasing sales, along with a number 13 album that quickly dropped off the charts. But all that was to change with the December 2007 release of the Barlow-esque ballad "Angels"......


This post has been edited by Matt.: Feb 17 2007, 06:31 PM
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thisispop
post Feb 3 2007, 01:57 PM
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Take That & Party (1992)
3 Stars


Review by Peter Fawthrop
Released in 1992, Take That & Party was the first album for Take That, and contains four Top Ten British singles. The album can be accurately described as more youthful than their future recordings; "A Million Love Songs" was written by lead singer Gary Barlow at the age of 15, and reached number seven on the music charts. There is a deep sensitivity in England toward Take That; the story of the group and its progress and departure was just as meaningful as the music the band produced. Hearing Robbie Williams on the tracks here, especially his lead on the cover of Barry Manilow's "Could It Be Magic," brings back a feeling of lost innocence and a perspective on the changing of times. Before his descent into depression and drugs, before he rose up and took over the British music world as a superstar solo artist, he was just another member of a boy band, experiencing life under the camera, touring amidst crazed fans, and appearing in videos. Barlow, who would also go on to solo fame (though to a much tamer level), creates a solid and consistent flow of music, writing ten of the 13 tracks at such a young age — quality music comparable to that of much older, jaded songwriters who already had lists of hits. The members of Take That were as natural and homespun as they were formulaic, which was the basis of their appeal.

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post Feb 3 2007, 01:57 PM
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i was just going to put this on but from wikipedia, thanks thisispop (sorry duno name) will pin right away. tongue.gif biggrin.gif
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thisispop
post Feb 3 2007, 01:59 PM
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Everything Changes (Oct 18, 1993)
4.5 Stars


Review by Peter Fawthrop
British group Take That did not have the same worries about releasing Everything Changes as they had with their debut album. By this time they were giant superstars in Europe, and the question in their minds was not whether they could get a hit single, but how many and which would make it to number one. The album spawned six hit singles, four of which made number one, making it Record of the Year and one of the best-selling albums of the decade, proclaiming them the biggest male group since the Beatles. When the hype sets in, it is hard to distinguish the value of the material itself. It is an album of dance-pop and ballads sung by five young men, with a greater maturity than most boy band albums thanks to the writing by lead singer Gary Barlow. Boy bands have their share of skeptics, and getting those to tear down their defenses usually ends up competing with their struggle to please the fan base they already have. With saucy dance tracks like "Relight My Fire" (a hit for Dan Hartman in the '70s) and quality ballads like "Pray" and "Love Ain't Here Anymore," as well as pop tracks "Everything Changes" and "Whatever You Do to Me," Take That won over everyone they needed to. What they got in return was a reputation for being a fine group with real talent. Everything Changes marked the height of Take That popularity.

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thisispop
post Feb 3 2007, 02:01 PM
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US album version

Nobody Else (Aug 15, 1995)
4 Stars


Review by Bryan Buss
Presaging the teen-pop phenomenon of the late '90s, Take That took Great Britain by storm in 1993. They didn't, however, hit the States until this release, and even then they hardly made a dent, with only the single "Back for Good" getting any airplay. Where Hanson sparked the boy band craze in the U.S. with a tight band, assured songwriting, good vocals, and an appreciation for rock and roll, and the Backstreet Boys and *NSYNC gave us lush harmonies and production, Take That lacks the confidence or the style of even the weakest cut by the above-mentioned groups. With lyrics like "Love ain't here anymore / it's gone away to a town called yesterday," you almost snap out of the coma the rest of the album has induced—simply because the lines are laughable. Despite lilting vocals on "Back for Good" and the surprising, risqué "Babe," there isn't a cut that stands out on Nobody Else. Teen pop isn't always art, but it still needs to be well done and have a little bite. This album doesn't offer either.



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post Feb 3 2007, 02:01 PM
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i always liked everything changes it was one of my favourite albums by take that smile.gif thumbup.gif
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thisispop
post Feb 3 2007, 02:03 PM
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Greatest Hits (1996)
4.5 Stars


Review by Stephen Thomas Erlewine
Take That disbanded just as they were on the verge of huge success in the U.S., but they never really needed American success — for all of the early '90s, they were undefeatable on the Brit-pop charts. During their six years together, the band racked up seven number one hits, most of them between 1992 and 1996. Every member of Take That sang, but Robbie Williams, Mark Owen, and Gary Barlow were the main vocalists, and they have all of the best moments on the band's Greatest Hits collection. Weaving between dance/pop like "Relight My Fire," "Sure," and "I Found Heaven," and ballads like "A Million Love Songs," "Back for Good," and their farewell single, a cover of the Bee Gees' "How Deep Is Your Love, " Take That's Greatest Hits is sugary, infectious pop that practically defines the term guilty pleasure.



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thisispop
post Feb 3 2007, 02:08 PM
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(US Cover)

Gary Barlow - Open Road (1997)
3 Stars


Review by Stephen Thomas Erlewine
Out of all the Take That members, Gary Barlow was tabbed to be a solo superstar because he not only had the looks, but the talent as well. All of Take That's best songs were written by Barlow, and they demonstrated that he shared Elton John's gift for the big, yet graceful hook. So, his solo debut Open Road should have established him among the front ranks of mainstream pop singers, but the album is fatally flawed because of this very conceit. In an attempt to guarantee Barlow the widest possible audience, Arista president Clive Davis decided to team the singer with a number of professional songwriters, resulting in a surprisingly bland album. When Barlow does get a chance to write — as on "Forever Love," "My Commitment," and "Open Road" — the record illustrates that he has the melodic skills and handsome charm to be a worldwide star, yet the album is undone by uncertainty and safe bets that lead Open Road to a dead end.


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Gary Barlow - Twelve Months Eleven Days (Mar 13, 2001)
No Review
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thisispop
post Feb 3 2007, 02:11 PM
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No Reviews for any of Mark Owen's albums &

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Take That - Beautiful World (Nov 27, 2006)
4.5 Stars


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post Feb 3 2007, 02:53 PM
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thanks tongue.gif biggrin.gif
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post Feb 25 2007, 09:52 AM
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Great reviews! thumbup.gif
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post Feb 27 2007, 07:28 PM
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Take That is an English pop clean-cut boy band that originated in Manchester in 1990. Take That sold 19 million records between the years of 1990-1996. Between the band's first single release in 1991 and their breakup in 1996, the BBC described Take That as "the most successful British band since The Beatles in the UK, beloved of young and old alike". Take That's dance-oriented pop tunes and soulful ballads dominated the British charts in the first half of the 1990s, spawning two of the best selling albums of the decade with Everything Changes 1993 and Greatest Hits 1996, and according to All Music Guide, "at this time were giant superstars in Europe with the main question about them not being about whether they could get a hit single, but how many and which would make it to number one". The band split in 1996 but, after a 2005 documentary and the release of a greatest hits album, they announced a 2006 tour around the United Kingdom, entitled The Ultimate Tour 2006. On May 9, 2006, it was announced that Take That were set to record their first studio album in over 10 years.

A stage musical is also planned for 2007.


Formation
In the Spring of 1990, Manchester was a city in the grip of a pop-cultural revolution that was attracting the attention of the world's media. The Stone Roses and the Happy Mondays were in their pomp; the Hacienda had become the most talked-about nightclub on the planet; different music and fashion and clubbing sects were converging to create a plethora of new, baggy sounds and styles. At the same time, in a small office on a small Mancunian street called Chapel Walks, an entirely different musical enterprise was being planned. A manager called Nigel Martin-Smith had noticed that, Madchester notwithstanding, the British pop charts looked flat. There hadn't been a decent home-grown teen sensation since Bros went weird, and the only act in that field generating any excitement were US imports New Kids on the Block. So what if you took a group of amenable British boys next door, and got them to sing some proper pop, and set out to offer proper entertainment with their live gigs? The best ideas are always the simple ones.

In 1990, Martin-Smith assembled a group of five working class lads from the North West: Gary Barlow, a 19 year-old from Cheshire who had been singing and playing the organ on the northern club circuit for five years; Howard Donald, 21, a vehicle painter who also dj'd, danced and modelled; Jason Orange, 19, a painter and decorator who had danced on a TV programme called The Hitman and Her; Mark Owen, 16, a former child model and Manchester United trialist, and Rob Williams, a 16-year old body popper from Stoke on Trent.

You will notice than none of them were stage school trained; Gary had learned to work a crowd in the pubs, the other four by competing in break dancing and body popping competitions around Manchester. There were no bland stage-school kids here, and their performing background was, says Gary Barlow now, important. "I think it made a massive difference to us. At 17 I'd been performing in clubs where I'd have to read the crowd straight away, quickly pick a set list, and within 40-45 minutes have everyone on their feet clapping, like in Phoenix Nights. it teaches you to work a room. If you look at our shows, they are so theatrical, it's almost in cabaret in a way. That all stems from those days." They called themselves Take That ("the best of a bad bunch of ideas" says Gary, but it could have been worse - the first idea was "Kick It") and spent two years gigging with a song and dance act featuring dancey covers, Gary's own compositions, and some dubious black bondage outfits. "We learned our trade over a couple of years that way," continues Gary. "Nowadays, you'd sit down with a manager with a list of audiences you needed to hit, and you'd tick them off one by one. But at that point with us it was just guesswork."

Success
The break through single was a cover of the 70's Tavares hit "It Only Takes A Minute". With a high tempo beat and an athletic yet trendy dance video with the boys clothed in "street" gear the single reached #7 on the UK charts.

This success was then followed by the first Gary Barlow ballad "A Million Love Songs" and then by the track "I Found Heaven" - both top 20 hits, and neither, to Barlow's relief, featuring dance video backing. Their cover of the Barry Manilow and Donna Summer disco hit "Could It Be Magic" gave them their biggest hit to date, and secured them a place in the public consciousness. Their first album, Take That and Party, was released in 1992, and contained all the so far released hit singles - a mix of covers and Barlow ballads.


Robbie Williams, Mark Owen, Jason Orange, Howard Donald and Gary Barlow1993 saw the release of Take That's most successful original album Everything Changes, based mainly on Barlow's original material. It spawned four UK number one singles - their first number one "Pray", then "Relight My Fire", "Babe" (beaten to Christmas number one by Mr Blobby), and the title track "Everything Changes". The fifth single "Love Ain't Here Anymore" reached number three on the UK charts. "Everything Changes" also saw Take That become an international success, although the US market still proved elusive ("Love Ain't Here Anymore" was even remixed for American release with a more rhythm & blues sound but did not garner much attention). However, they were at their highest peak of celebrity in the UK - highs included having tea with Princess Diana at Kensington Palace, and sitting on Elton John's sofa shouting out requests for him to play on the piano.

Their 1995 album Nobody Else, was launched with the release of number one single "Sure". Their second release would become their biggest hit single (and only American hit), "Back For Good". The album was also noted for its cover, which (outside of North America) was a parody of the cover of The Beatles' Sgt. Pepper's Lonely Hearts Club Band cover sleeve.


Departure of Williams
The band's demise began July 1995, when Robbie, wanting to get rid of his clean-cut image, rebelled and began to party hard with British band Oasis at Glastonbury. A mixture of growing animosity between Williams and Martin-Smith over Robbie's professionalism, and disagreements between Williams and Barlow and the other band members due to this resulted in Robbie's departure from the band.

Take That continued to promote the album Nobody Else as a four piece, scoring a further hit singles and fan favourite "Never Forget" (subsequently released as a single in a Jim Steinman remix version).


Break-Up
On 13 February 1996, Take That announced that they were splitting. This would break the hearts of millions of fans worldwide - to an extent that hotlines were set up around the UK to cope with fans' grief. This was followed by the Greatest Hits compilation in 1996, which contained a new recording, a cover of The Bee Gees "How Deep Is Your Love" (featuring the remaining members tied to chairs in the video in what was proposed by the media as the way they felt about their management and recording contracts), which went on to become what appeared to be the band's final number one.

Careers outside Take That

Gary Barlow
Soon after the split, Gary Barlow recorded a solo album Open Road (1997) with his singles Forever Love and Love Won´t Wait going to number 1 in the UK charts. His second album, Twelve Months, Eleven Days was less successful. Two singles were released; Stronger, which reached #16, and a follow up which reached #24. Barlow was subsequently dropped from his label. He later set up a studio in his Cheshire home and began writing and producing records for the likes of Donny Osmond, Blue and Delta Goodrem.


Robbie Williams

Robbie performs on the tourRobbie Williams released his first single, Freedom, a cover of a George Michael song in 1996. He achieved much greater success with his fifth single, the self-penned "Angels", which has become his signature tune. Since then, he has released many successful solo albums including I've Been Expecting You, Swing When You're Winning and Escapology. Every one of Robbie´s studio albums has been catapulted to No.1 in the UK, including his latest effort Rudebox. His album sales average over 2 million per album in the UK. In 2005 he was named the best selling artist of the new millennium in the United Kingdom and is the most successful male British solo artist in British history with album sales standing over 15.5 million and 48 million worldwide. He is also is the biggest selling artist in Europe of the 21st century.


Mark Owen
Mark Owen has released three solo albums to date - Green Man, In Your Own Time and How the Mighty Fall. He has toured extensively in Europe and the UK, and visited Japan in early 2006, where he has secured a publishing deal. Owen also won the 2002 UK version of Celebrity Big Brother.

Howard Donald
Howard Donald recorded a single but it was not released. He then went on to become a successful DJ playing mostly in the UK and Germany.


Jason Orange
Jason Orange had two acting roles, he played DJ drug dealer Brent Moyer in Lynda La Plante's Killer Net (shown on UK Channel 4 and now on DVD) and he appeared in the play Gob which was performed at the King's Head Theatre in London.


For The Record
On 14th November 2005, a new compilation of their hit singles, plus a new previously unreleased song, also made the top end of the UK charts. The new song "Today I've Lost You" (recorded in September 2005) was originally written as the follow up to "Back For Good". This track is the only track from the album which isn't available to download. On Wednesday 16 November 2005, the group got back together for the ITV1 documentary "For The Record", in which they aired their views over the split and what they had been up to during the last 10 years. The four post-Williams members got together in a room filmed by the documentary, which created speculation around a reformation - heightened by a nomination for a Rose d'Or award, and over seven million viewers.

On 25 November 2005, there was an official press conference by the band announcing that the post Robbie Williams line-up were going to tour in 2006. The tour, entitled The Ultimate Tour 2006, started with just 11 dates booked but after record sell-outs, a further 19 dates were added - totalling 30 arena and stadium concerts around Britain and Ireland - and ran from April to June 2006. The tour featured a guest appearance by British soul singer Beverley Knight, who replaced Lulu's vocals on the song "Relight My Fire"; although Lulu did appear during the Arena shows on "Relight My Fire" and "Never Forget". The American girl-band Pussycat Dolls supported the group at their Dublin concert, and the Sugababes supported the group on the final five dates of the Stadium leg.


The Ultimate Tour
On 19 May 2006, Williams announced to Jonathan Ross on his late-night chat show that he would join his former band mates for a rendition of "Could It Be Magic" during the tour, if Ross should beat him at a game of tennis in the week following the broadcast. It turned out that he later didn't take part in the proposed match. Williams did feature in the 2006 gigs in performances of "Could it be Magic" as a 20ft pre-recorded hologram.

While Robbie Williams was not to be part of the tour, the other members of the band extended an open invitation for him to join them on stage if he wished to: "The door’s always open for Rob. If ever he's bored one day and we’re on the road and he wants to come and sing a song, we're always ready to do that. We'll have a spare mic ready for him on stage."[1]

On 4 May 2006, Tony Mortimer of East 17 criticized Take That during an interview with The Sun, he claimed that East 17 had "sold more albums world-wide", but this is not true as Take That's global chart success was much higher in the 1990s. Further proof of the difference in popularity between the two acts was shown when East 17's one-off show took much longer to sell-out than the whole Take That tour.


Patience & Beautiful World
On 9 May 2006, Take That came back to the recorded music scene after more than ten years, signed to a music deal with Polydor Records in a deal reportedly worth £3 million. Owen said the band were looking forward to making: "a great record, the best record we've ever made". Rumours circulated that Williams could join the band to record some of the album, but this did not happen.

The come-back single "Patience" was released on 20th November 2006, with a special event launching it on 5th November (Bonfire Night). On 26 November 'Patience' hit number 1 in the UK in its second week of chart entry making it the group's 9th No.1. On Saturday 2 December the band performed live on ITV1 show An Audience with Take That. They performed some of their biggest hits and songs of the new album to an audience full of celebrities, and the album, "Beautiful World", reached #1 on the UK album chart the following day, while 'Patience' also remained at No.1 on both the Official UK Singles and Download charts.

Unlike the band's earlier works, where the majority of their material was written by Gary Barlow, 11 of the 12 songs are co-written by the band and professional songwriters including John Shanks, Steve Robson and others with only "I'd Wait for Life" being an entirely Take That composition.

Take That also celebrated being the first band ever to simultaneously top the five main official U.K. single, album, DVD, download single and download album charts in the same week (week ending December 17th 2006) with 'Patience' (single), 'Beautiful World' (album) and 'The Ultimate Tour - Live In Manchester' (DVD).


Shine
It was announced at the start of 2007 that Take That recently signed a record deal with American label Interscope, and would also release their album in Canada. After just over a month on sale the band's comeback album Beautiful World sold over 1.5 million copies in the U.K, and the band took promotion to Germany, where on 20th January 2007, they appeared on "Wetten Dass...", in which they announced there would be an European tour in October 2007.

The video for Shine, the follow-up to 'Patience' was premiered on January 25, 2007 on Channel 4, ahead of its release on 26th February 2007. The band's massive success continued on 14th February 2007 when Take That performed live at the Brit Awards ceremony at Earl's Court. Their single Patience won the British Single category. Following their performance, Patience re-entered the UK top 10 after 16 weeks in the charts, with Shine just one place below at #11.

Take That will visit Australia, Japan and Canada in the coming months as they take Beautiful World around the world. Plans for a third single are as yet unconfirmed, but the band have announced UK tour dates for Autumn 2007, which will close their European Tour which starts in October.

Date Venue
16th November 2007 Birmingham, NEC
17th November 2007 Birmingham, NEC
19th November 2007 Birmingham, NEC
20th November 2007 Birmingham, NEC
22nd November 2007 Glasgow, SECC
23rd November 2007 Glasgow, SECC
24th November 2007 Glasgow, SECC
26th November 2007 Newcastle, Metro Radio Arena Newcastle
27th November 2007 Newcastle, Metro Radio Arena Newcastle
29th November 2007 London, The o2 Arena
30th November 2007 London, The o2 Arena
1st December 2007 London, The o2 Arena
3rd December 2007 London, The o2 Arena
4th December 2007 London, The o2 Arena
10th December 2007 Manchester, MEN Arena
11th December 2007 Manchester, MEN Arena
13th December 2007 Manchester, MEN Arena
14th December 2007 Manchester, MEN Arena
15th December 2007 Manchester, MEN Arena
17th December 2007 Manchester, MEN Arena
18th December 2007 Manchester, MEN Arena
19th December 2007 Manchester, MEN Arena


Enjoy ALL That wink.gif

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This post has been edited by Matt.: Feb 27 2007, 07:30 PM
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Dino-2pacalypse
post Mar 6 2007, 04:33 PM
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wow thank for postin
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BarlowIsGod
post Dec 21 2008, 02:49 PM
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QUOTE(Dino @ Mar 6 2007, 04:34 PM) *
wow thank for postin


erm, why no European dates are added to the list of 2007 concerts? blink.gif


This post has been edited by BarlowIsGod: Dec 21 2008, 02:49 PM
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