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 Robbie Williams - Celebrating 25 years as a solo artist, Robbie Williams - Celebrating 25 years as a solo artist |
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 Jan 10 2022, 09:59 AM
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 BuzzJack Platinum Member
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My name is Robbie Williams and from the beginning your ass was mine!
 After leaving Take That in 1995 Robbie was unable to record anything as a solo artist until late 1996 due to contract restrictions with RCA, this eventually cost him most of his previous earnings. He spent the early part of 1996 as a professional partygoer, appearing at bars and celebrations everywhere. The British press had a field day with his downward spiral and dismissed Williams as a talentless lout who was full of resentment for his former band and friends. On June 26, 1996, Williams signed a recording contract with Chrysalis. He released an updated cover of the George Michael song called “Freedom 96” later that year. In comments included at his Geocities web site, Williams called the single, “more a statement than a single. The lyrics tell my story. After this, I’m going to go away and re-invent myself, then come back with my own stuff.” Freedom - 1996 TOTP - Introduced by the Spice Girls & so it begins , an artist with an amazing career right up to the present day & long may it continue  I thought it might be interesting if we could find some not seen before news articles / Videos etc in relation to the Robbie years 
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Jan 10 2022, 01:04 PM
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#2
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BuzzJack Platinum Member
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Found this article & thought it was someone taking the pi** first but it did actually happen. The second article refers to a double disc that had Noel G interviews ( must have been the done thing back in 1996
 ) . Interesting article actually  What the hell do The Verve’s ‘Urban Hymns’ and Robbie Williams’ ‘Life Thru A Lens’ have in common? A lot it turns out Sam Walton's been looking back on 1997's biggest LPs on their 20th birthdays - including these two, one more stinking than the other On 22nd February 1996, during the peak of Oasis’ imperial phase, BBC London agreed to let Noel Gallagher present their afternoon slot as a one-off. The show consisted of fairly standard Gallagherian slop, opening and closing the programme with the Beatles, with one notable exception: his interview guest was Robbie Williams, who had left Take That the previous August and spent the intervening six months trying to elbow his way into Britpop. In a surprisingly pally encounter, the pair suggest that it was Oasis who convinced Robbie to ditch his former employers, and that, encouragingly, Gallagher would happily write Williams’ debut solo album for him. Williams, one imagines, went away from the afternoon love-in finally feeling endorsed, ideas brewing in his head. A little under a year later, Gallagher paid a visit with his younger brother to Olympic Studios in west London, where The Verve, having recently reformed, were in the thick of recording their third album. Richard Ashcroft played the pair the newly finished ‘Bitter Sweet Symphony’ and sought advice from Noel on other work in progress, while Liam offered backing vocals to what would become the album’s closing track. The following week, Noel detailed his trip for NME, reporting that The Verve were “the second-best band in Britain”. Ashcroft, one imagines, read that as a challenge. These two meetings were entirely unrelated to one another, and in London’s cliquey landscape of the time fairly unremarkable. They would have remained so, too, were it not for the release, twenty years ago today, of both The Verve’s ‘Urban Hymns’ and Robbie Williams’ ‘Life Thru A Lens’. Sure, the niceties of release schedules usually carry little significance, and admittedly, at the time, a blockbuster comeback from an indie heavyweight seemed to have little in common with a boyband deserter’s debut. Twenty years on, however, there’s an odd synchronicity to this pair: here are two albums strangely desperate to box themselves into a dying Britpop template despite neither act being a natural fit for it; two albums making rather lumpen, lowest-common-denominator stabs at articulating the human condition, and two albums that danced around the fringes of the Oasis circus in very different ways but both becoming overwhelmed by Noel Gallagher’s 1997 taste for populist bombast. Perhaps most tellingly, though, both albums combine to point towards the rise of what Alan McGee would term “bedwetter rock” a couple of years hence, in the meantime occupying the interregnum that occurred between the downfall of Britpop and the polite indie ascension of first Travis, then Coldplay and, eventually, the likes of Ed Sheeran. It’s perhaps understandable why Williams would want to leap on the Britpop bandwagon. After all, in 1996, with Cool Britannia in full flow, few types of music could have been more appealing to any 22-year-old white male northerner, let alone one recently freed of a contractually obliged shackling to wipe-clean pop. That blind eagerness for cathartic blow-out is all over ‘Life Thru A Lens’, leaving the entire album carrying a rather embarrassing sense of all-the-gear/no-idea (a phrase likely true in multiple ways for Williams at the time). Even within that, however, the likes of the title track and ‘Old Before I Die’ in particular, which pillage mid-ranking Britpop with little of the accompanying credibility, ring especially naff, revealing Williams as the callow Johnny-come-lately that he clearly wishes he wasn’t. For The Verve, however, the reasons for their stylistic shift Britpopwards are somewhat more opaque. Sure, there was Ashcroft’s ongoing friendly rivalry with Noel Gallagher that might’ve prompted him to take the kernel of a song like ‘Weeping Willow’ and bloat it into a soupy singalong, but there’s a concurrent sense throughout ‘Urban Hymns’ that its grandiose aesthetic might actually have been accident of compromise. After all, the majority the album has its foundation in Ashcroft’s mid-pace four-chord open-mic solo acoustic guitar; from there, any attempt to integrate a noisy band and an expensive studio will surely make for fairly clumsy results. Whatever the reasons, though, the outcome must have initially appealed to Ashcroft – another mid-20s white northerner longing for recognition – as much as it did to Williams, even if the jarring fit on Ashcroft’s part is on account of him of having too much previous form within indie music, not too little. A common intent of the two albums, however, can be found in their biggest singles, both of them ballads about ailing relatives that seek to be just personal enough to retain their dignity, but universal enough to soundtrack mass public emote-alongs. Indeed, so immediately effective at this was ‘The Drugs Don’t Work’ that it briefly became the unofficial Princess Diana anthem: having been released, by chance, the day after she died, it went straight to number one in the singles chart while the officially sanctioned Elton John ditty was still putting its shoes on. ‘Angels’, meanwhile, took a little longer to become statistically the nation’s most popular funeral song, but when it did, it pushed exactly the same buttons as The Verve’s counterpart, reaching for a paradoxical mass intimacy in the first half before bounding out into a coda/instrumental section that’s just amorphously poignant enough to serve as a proxy for any given listener’s specific woes. Neither album stops at one example of this, and while The Verve’s further attempts – the country-rock tinges of ‘Sonnet’ and ‘Lucky Man’, and refreshingly uncluttered ‘One Day’ – outstrip in both construction and execution the rather mawkish, self-involved offal that comprises Williams’ ‘Killing Me’ and ‘One Of God’s Better People’, all of them feel today, to a greater or lesser degree, like prophets of a more pedestrian, middle-aged and unenquiring breed of post-Britpop that would be led into the new millennium by the likes of Embrace and Starsailor, in which gnomic lyrics and simple, maudlin melody would unite huge outdoor concerts in a combination of self-affirmation and catharsis, all at the expense of anything more distinctive. And that result is instructive: while Noel Gallagher’s fingerprints are forensically provable on both ‘Urban Hymns’ and ‘Life Thru A Lens’, it’s also no coincidence that Coldplay’s ‘Yellow’ draws just as much from the opening bars of William’s ‘Lazy Days’ as it does from The Verve’s ‘Space And Time’. Around this time, Paul Morley described The Verve as “like Céline Dion for teenage boys”; with Robbie Williams’ invasion of that aesthetic territory serving only to expand its demographic while preserving the function, it’s no wonder Chris Martin et al became, shortly afterwards, the biggest group in the world. All this isn’t to say, though, that ‘Urban Hymns’ and ‘Life Thru A Lens’ are actually particular similar, even if they do stand for uncannily similar things. Indeed, while there’s a sense that with ‘Urban Hymns’, The Verve were trying to outdo their peers and become leaders in their field, Williams’ ersatz Britpop suggests he’s happy just to be in the same room. The Verve nearly manage their goal, too: the fleeting peaks that bookend ‘Urban Hymns’ – the majestically imperious ‘Bitter Sweet Symphony’ and ferocious, big-skied groove of ‘Come On’ – are tantalising teases of the kind of totemic brilliance the band might’ve achieved had they all pulled in the same direction and Ashcroft matched his self-conviction with nuance. By contrast, ‘Life Thru A Lens’ has nothing artful to it – for all Williams’ attempts to break away from the consumerist pop constraints of his boy(band)hood, it seems old habits die hard. The following summer, as The Verve played the same sort of homecoming enormo-gigs that Oasis had enjoyed in the previous one, there was perhaps relief that an apparently clapped-out Noel Gallagher had managed to anoint his successor so seamlessly: The Verve’s stratospherically swelling, earnestly vague anthemic rock was seen as the ideal tool to smooth over the disappointment of Be Here Now, and potentially even push on adventurously alongside 1997’s other guitar-based innovators like Radiohead and Spiritualized. The problem was, they smoothed it too much then split up acrimoniously before they could retexture what they’d done, leaving the path clear, five years later, for a fat dancer from Take That to sell out three nights at Knebworth playing imitation rock music to half a million people. Despite Williams’ shows breaking Oasis’ record for the biggest ever gigs in the UK, Gallagher Sr was this time uncharacteristically silent. The parasite, it seems, had finally engulfed his host. https://www.loudandquiet.com/short/hell-ver...mmon-lot-turns/ Disc 1- Noel Intro Sex Pistols - Anarchy In The UK The Beatles - Helter Skelter Noel Comment #1 Black Grape - Tramazi Panti Beastie Boys - Jimmy James Noel Comment #2 Public Enemy - Fight The Power Noel Comment #3 Primal Scream - Get Your Rocks Off Cast - Alright Noel Comment #4 Heavy Stereo - Chinese Burns Noel Comment #5 Northern Uproar - From A Window Noel Comment #6 Ocean Colour Scene - Riverboat Song Paul Weller - Out Of The Sinking Dr. Robert - The Comfort Of Grace Noel Comment #7 The Verve - This Is Music Noel Interviewing Digsy (from Smaller) Smaller - God I Hate This Town Noel Comment #8 Noel Comment #9 Stooges - I Wanna Be Your Dog Mc5 - Future Now Noel Comment #10 Digsy - He Loves You (Acoustic) Live Noel Interviewing Robbie Williams Fifth Dimension - Aquarius Fifth Dimension - Let The Sunshine In John Lennon - Imagine -Disc 2- Wings - Jet Noel Comment #11 Desmond Dekker - Come Together Noel Comment #12 Stones - I Wanna Be Adored Noel Comment #13 Dodgy - Staying Out For The Summer Noel Comment #14 Digsy - Just As Bad (Acoustic) Live Noel Comment #15 The Jam - Eton Rifles The Who - Anyway, Anyhow, Anywhere Noel Comment #16 Paul Weller - Down The Seine (Acoustic) Live Noel Comment #17 The Kinks - Waterloo Sunset Noel Outro The Beatles - Tomorrow Never Knows The Monkees - Daydream Believer Radio Jingle https://live4ever.proboards.com/thread/9297...her-show-feb-96 |
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Jan 11 2022, 12:15 AM
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BuzzJack Platinum Member
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Whenever I see film of him when he was so young -I always think the same thing -he was just so incredibly beautiful
 Not sure he was totally sober here with Chris Evans  |
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Jan 11 2022, 02:32 PM
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#4
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BuzzJack Platinum Member
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QUOTE(Laura130262 @ Jan 11 2022, 12:15 AM)  Whenever I see film of him when he was so young -I always think the same thing -he was just so incredibly beautiful Not sure he was totally sober here with Chris Evans I wonder if he ever looks back at those videos & thinks ' Was that really me' It seems he spent most of 1995/1996 partying heavily & then went to rehab for a rest
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Jan 11 2022, 02:41 PM
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#5
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BuzzJack Platinum Member
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MTV Awards 1996 London Smash Hits Awards 1996 BRITS 1996 , actually enjoyed this video quite a lot, David Bowie, Michael Jackson & many more |
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Jan 11 2022, 09:17 PM
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 BuzzJack Enthusiast
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Just a little help from Mr Chris Heath:
https://robbiewilliams.com/blogs/news/robbi...ty-years-part-1 https://robbiewilliams.com/blogs/news/robbi...ty-years-part-2 |
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Jan 11 2022, 10:01 PM
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#7
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BuzzJack Platinum Member
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QUOTE(Better Man @ Jan 11 2022, 09:17 PM) Just a little help from Mr Chris Heath: https://robbiewilliams.com/blogs/news/robbi...ty-years-part-1 https://robbiewilliams.com/blogs/news/robbi...ty-years-part-2 Thanks Alex, great reference point for seeking out dates/articles etc .. |
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Jan 11 2022, 10:18 PM
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BuzzJack Enthusiast
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QUOTE(Sydney11 @ Jan 11 2022, 05:41 PM) MTV Awards 1996 London Tess, especially thanks for this one. Good catch to see U2 and Rob together at least for a moment. It's a pleasure to admit that this version has a Russian translation. The interpreter has been the main VJ of MTV Russia that time and even took an interview to Rob around Sexed Up release time. Last year I was at one enteresting event - in our country we have a good tradition to write a dictation every spring. It's called 'A total dictation'. In fact anyone from child to olds can test their knowledge of the language at the moment. The event goes around the country at the same time - so there were over 500 locations in 2021 - and a lot of famous people read the text. So, and this guy (well, already a 57 y.o. man ) read the text of the dictation where I had been.Actually I had an idea to talk with him after the event and ask about his memories from an interview with Rob... but I hesitated in the end. He is too brutal and cool man. Anyway, it was a pleasure to get some historical connection. When pop music was fantastic. --- BTW, I've never seen a Freedom performance at Smash. Thanks! This post has been edited by Better Man: Jan 11 2022, 10:21 PM |
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Jan 12 2022, 12:30 AM
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BuzzJack Platinum Member
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Ant and Dec there!
Just children 
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Jan 12 2022, 12:57 PM
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BuzzJack Platinum Member
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QUOTE(Better Man @ Jan 11 2022, 10:18 PM) Tess, especially thanks for this one. Good catch to see U2 and Rob together at least for a moment. It's a pleasure to admit that this version has a Russian translation. The interpreter has been the main VJ of MTV Russia that time and even took an interview to Rob around Sexed Up release time. Last year I was at one enteresting event - in our country we have a good tradition to write a dictation every spring. It's called 'A total dictation'. In fact anyone from child to olds can test their knowledge of the language at the moment. The event goes around the country at the same time - so there were over 500 locations in 2021 - and a lot of famous people read the text. So, and this guy (well, already a 57 y.o. man ) read the text of the dictation where I had been.Actually I had an idea to talk with him after the event and ask about his memories from an interview with Rob... but I hesitated in the end. He is too brutal and cool man. Anyway, it was a pleasure to get some historical connection. When pop music was fantastic. --- BTW, I've never seen a Freedom performance at Smash. Thanks! Glad you enjoyed that one Alex, that was a time when singers did very much their own thing & stood out as individuals, it was a real fun time , artists nowadays are so bland except for a few . You should indeed have asked the interpreter about the interview with Rob, the worst they can say when you ask is no but he might just have said yes. I had to laugh at Rob at the beginning with the crowd surfing, he very near lost his trousers ( nothing unusual for him ) , he was really good at the presentation, no bother to him at all, even threw away the script Just a question Alex, when you do the dictation is it in Russian & did you pick a particular subject or were you given one . |
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Jan 12 2022, 01:00 PM
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BuzzJack Platinum Member
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QUOTE(Laura130262 @ Jan 12 2022, 12:30 AM) Ant and Dec there! Just children & what a career they have made for themselves since ... |
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Jan 14 2022, 07:33 AM
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BuzzJack Platinum Member
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1996 Pic courtesy of Getty Images
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Jan 14 2022, 09:51 AM
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BuzzJack Enthusiast
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QUOTE(Sydney11 @ Jan 12 2022, 03:57 PM) Just a question Alex, when you do the dictation is it in Russian & did you pick a particular subject or were you given one . This event has been launched in 2004 and until 2021 there was only one dictation in Russian language only. It's impossible to pick a subject - there is always only one text for everybody. But last year there were two ones: one - in Russian and second - in English. I did both. TBH, English one was difficult for me but it has been an interesting experience anyway! BTW, there was a possibility to write it in Ireland too: https://totaldict.ru/about/geography/ OK, sorry for offtopic! Waiting for more info about Robbie's 25 years |
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Jan 14 2022, 10:27 AM
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BuzzJack Platinum Member
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30 albums turning 25 in 2022
Some of the key - and very big - releases from 25 years ago  https://www.officialcharts.com/chart-news/3...in-2022__34938/ Originally released in October 1997, ‘Life Thru A Lens’ was Robbie’s debut solo album. It entered the chart at number 11 but had to wait almost six months before it reached number one. It eventually spent 147 weeks on the Top 100 and has been certified 8x Platinum by the BPI for UK sales in excess of 2 million copies. It includes the hit singles ‘Old Before I Die’ (No. 2), ‘Lazy Days’ (No. 8), ‘South Of The Border’ (No. 14), ‘Let Me Entertain You’ (No. 3) and ‘Angels’ (No. 4), the latter his biggest selling single to date, and voted the best song of the last twenty-five years at the 2005 BRIT Awards. Now certified 10 x Platinum by the BPI, with UK sales in excess of 2.5 million. |
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Jan 14 2022, 10:39 AM
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BuzzJack Platinum Member
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QUOTE(Better Man @ Jan 14 2022, 09:51 AM) This event has been launched in 2004 and until 2021 there was only one dictation in Russian language only. It's impossible to pick a subject - there is always only one text for everybody. But last year there were two ones: one - in Russian and second - in English. I did both. TBH, English one was difficult for me but it has been an interesting experience anyway! BTW, there was a possibility to write it in Ireland too: https://totaldict.ru/about/geography/ OK, sorry for offtopic! Waiting for more info about Robbie's 25 years Thanks for info , nobody better than me at going off topic  , I just found it interesting , that's all & now back to main subject in hand 
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Jan 14 2022, 10:59 AM
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BuzzJack Platinum Member
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 Robbie Williams photographed on the London Underground, March 1997 Photographer :Harry Borden: Robbie Williams, London (1997) Harry recalls the shoot: “In early 1997, Robbie Williams was at a difficult stage in his career, and it wasn’t easy to predict what would happen next. Aged 23, he had left Take That the previous year but had yet to release his first solo album. When I was commissioned by music magazine Select to photograph him in March 1997, he seemed a little lost. The magazine had booked a studio in Clerkenwell, central London, and wanted me to shoot portraits to go with an interview by journalist Caitlin Moran. But Robbie wasn’t in the best frame of mind for the shoot. I remember clearly that I had little or no conversation with him. He wore an amazing striped suit, and I photographed him manically jumping around. It wasn’t an intimate type of shoot at all; it was just a bit crazy. His PR people were looking on and wringing their hands with anxiety. However, even in this unpredictable and dishevelled state, he was very charismatic and handsome. He had amazing eyes and was great to photograph. Aside from the studio portraits, I had other plans for the shoot. I’m a big fan of Dennis Stock’s famous photographs of actor James Dean in Times Square, and I wanted to try something similar. I liked the idea of photographing someone charismatic in an anonymous setting, so I suggested that we go outside. The people from Robbie’s management company were very concerned about him being mobbed, but I tried to persuade them that it was a good idea. I said we would just walk through Clerkenwell to Farringdon tube station, where I’d get some shots of him on the concourse, perhaps reading a newspaper. They reluctantly agreed, though I didn’t tell them my real plan – to photograph him on a London Underground train. As Robbie and I walked through the station with an entourage behind us, I told him what I was planning to do, and he agreed. So when a train pulled into the platform, he and I jumped on just as the doors were about to close. Everyone else, including his PR people and my assistant, was left on the platform. Robbie and I went one stop on the train to King’s Cross station. I had my Fujifilm GW670 (a 6×7 rangefinder camera with a 90mm lens), some Kodak Tri-X film and a tripod. I shot about 10 frames. Nobody on the train said anything to us or barely even looked up. We got out at King’s Cross and caught the train back to Farringdon. If I wanted to shoot something like that today, I’d probably have to get official permission or set it up with lots of extras. But we got away with it then because we did it so quickly. If you’re fleet-footed and completely brazen, quite often people don’t bat an eyelid. If you ask: ‘Is it okay to take the picture?’ you’re just giving people the opportunity to object. Here, we winged it and I think that energy and spontaneity is woven into the fabric of the picture. The best picture I’ve taken of him is the shot on the tube. It was selected for the 1997 John Kobal Photographic Portrait Award exhibition. It was exactly the picture I’d wanted. Even today, I can look at it and feel pleased that I managed to pull off my idea.” https://www.snapgalleries.com/product/harry...ms-london-1997/ |
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Jan 15 2022, 12:18 AM
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#17
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BuzzJack Platinum Member
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QUOTE(Sydney11 @ Jan 14 2022, 10:59 AM) Robbie Williams photographed on the London Underground, March 1997 Photographer :Harry Borden: Robbie Williams, London (1997) Harry recalls the shoot: “In early 1997, Robbie Williams was at a difficult stage in his career, and it wasn’t easy to predict what would happen next. Aged 23, he had left Take That the previous year but had yet to release his first solo album. When I was commissioned by music magazine Select to photograph him in March 1997, he seemed a little lost. The magazine had booked a studio in Clerkenwell, central London, and wanted me to shoot portraits to go with an interview by journalist Caitlin Moran. But Robbie wasn’t in the best frame of mind for the shoot. I remember clearly that I had little or no conversation with him. He wore an amazing striped suit, and I photographed him manically jumping around. It wasn’t an intimate type of shoot at all; it was just a bit crazy. His PR people were looking on and wringing their hands with anxiety. However, even in this unpredictable and dishevelled state, he was very charismatic and handsome. He had amazing eyes and was great to photograph. Aside from the studio portraits, I had other plans for the shoot. I’m a big fan of Dennis Stock’s famous photographs of actor James Dean in Times Square, and I wanted to try something similar. I liked the idea of photographing someone charismatic in an anonymous setting, so I suggested that we go outside. The people from Robbie’s management company were very concerned about him being mobbed, but I tried to persuade them that it was a good idea. I said we would just walk through Clerkenwell to Farringdon tube station, where I’d get some shots of him on the concourse, perhaps reading a newspaper. They reluctantly agreed, though I didn’t tell them my real plan – to photograph him on a London Underground train. As Robbie and I walked through the station with an entourage behind us, I told him what I was planning to do, and he agreed. So when a train pulled into the platform, he and I jumped on just as the doors were about to close. Everyone else, including his PR people and my assistant, was left on the platform. Robbie and I went one stop on the train to King’s Cross station. I had my Fujifilm GW670 (a 6×7 rangefinder camera with a 90mm lens), some Kodak Tri-X film and a tripod. I shot about 10 frames. Nobody on the train said anything to us or barely even looked up. We got out at King’s Cross and caught the train back to Farringdon. If I wanted to shoot something like that today, I’d probably have to get official permission or set it up with lots of extras. But we got away with it then because we did it so quickly. If you’re fleet-footed and completely brazen, quite often people don’t bat an eyelid. If you ask: ‘Is it okay to take the picture?’ you’re just giving people the opportunity to object. Here, we winged it and I think that energy and spontaneity is woven into the fabric of the picture. The best picture I’ve taken of him is the shot on the tube. It was selected for the 1997 John Kobal Photographic Portrait Award exhibition. It was exactly the picture I’d wanted. Even today, I can look at it and feel pleased that I managed to pull off my idea.” https://www.snapgalleries.com/product/harry...ms-london-1997/ What a great article and photo! Imagine being some of the other tube passengers in the photo |
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Jan 15 2022, 07:34 AM
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#18
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QUOTE(Sydney11 @ Jan 14 2022, 05:16 PM)  Photo : Jake Chessum 1997 It's from 2001
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Jan 15 2022, 08:42 AM
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#19
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BuzzJack Platinum Member
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QUOTE(Better Man @ Jan 15 2022, 07:34 AM) It's from 2001 Thanks , I have removed it
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Jan 15 2022, 09:35 AM
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#20
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BuzzJack Platinum Member
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Life Thru a Lens - Debut album released SEPT 10th 1997
 Tracklisting 1. Lazy Days - Robbie Williams 2. Life Thru A Lens - Robbie Williams 3. Ego A Go Go - Robbie Williams 4. Angels - Robbie Williams 5. South Of The Border - Robbie Williams 6. Old Before I Die - Robbie Williams 7. One Of God's Better People - Robbie Williams 8. Let Me Entertain You - Robbie Williams 9. Killing Me - Robbie Williams 10. Clean - Robbie Williams 11. Baby Girl Window - Robbie Williams The long awaited debut solo album, Life Thru A Lens, was released in September 1997. During a harrowing period for Robbie, recording began at London's Maison Rouge studios in March of that year, shortly after his introduction to Guy Chambers. After his brief creative fling with writers Eric Bazilian and Desmond Child, Robbie and Guy were keen to create a rockier sound. "Robbie constantly writes lyrics and has some good ideas," said A&R Chris Briggs. "We tried various collaborators, and the one Robbie clicked with was Guy. The demos confirmed we had found a direction." Released in September - not long after Robbie's stint in rehab, from which he emerged two stones lighter - the album launched with his first live solo gig at the Elysee Monmatre theatre in Paris... Asked why the album had taken so long to release, Robbie told The Star: "I don't know, it's probably because I've been off me head." At first the album was slow to take off, despite reasonably good reviews. As the album hit the nation's bargain bins, no one could have prepared Robbie for the success of Angels - now considered one of the most popular songs of all time! Robbie recalled: "The album had sold about 33,000 copies - which is bugger all as far as I'm concerned. Then Angels comes out and suddenly the album goes from 33,000 to 300,000 sales. Then two weeks later it went double platinum. I was a very happy boy!" The first band line-up included Guy Chambers, Fil Eisler, Chris Sharrock, Gary Nuttall and Martin Slattery. |
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