October 28, 201014 yr Hmmmm. If all this is true I'm rather surprised. :blink: Unless of course they are trying to maximise album sales in Europe by featuring Bob so prominently :unsure: The TT ladies at my work today weren't overly impressed when I said RW was going to have a solo slot at the concerts. 'We're going to see TT, not Robbie! We can't stand Robbie!' they shrieked. Oh well, $h!t happens... :lol: Unless the album is titled differently in Europe 'Robbie Williams ft Take That' I can't see it doing much over there. If it does do well ... it'll be because it'll have been given airplay and people like it - if it doesn't do well ... it just means its not liked. In fact even if this were so ... I'm not sure it'd make any difference on its eventual success in Europe. Rob's name has hardly done anything to shift Shame ... and The Flood is dropping quite sustainedly on European iTunes (it hasn't even made some charts). I think the reason Rob's got the lion's share of the tracks is probably because he's put most into it (along with Mark) it probably was a proviso written in to any agreement for him to return. And ... if he has had such a big input into it (which I believe with De Niro's assumption) then why shouldn't he have most leads. I'm only part way through reading the interview in Q (I'm off to my quiz in a short while so I'll finish it off over the weekend) but in the first few paragraphs it describes Barlow as the 'most business-like' ... and quite frankly ... that is all this whole thing is about ... business - its just that Barlow has no 'joker' facade to hide behind. I find the whole thing quite interesting to observe now. The fact that Barlow refers to the whole thing as an 'event' makes me even more sure that music has nothing to do with it. Kath Edited October 28, 201014 yr by Kathyp
October 28, 201014 yr Author Unless the album is titled differently in Europe 'Robbie Williams ft Take That' I can't see it doing much over there. If it does do well ... it'll be because it'll have been given airplay and people like it - if it doesn't do well ... it just means its not liked. In fact even if this were so ... I'm not sure it'd make any difference on its eventual success in Europe. Rob's name has hardly done anything to shift Shame ... and The Flood is dropping quite sustainedly on European iTunes (it hasn't even made some charts). I think the reason Rob's got the lion's share of the tracks is probably because he's put most into it (along with Mark) it probably was a proviso written in to any agreement for him to return. And ... if he has had such a big input into it (which I believe with De Niro's assumption) then why shouldn't he have most leads. I'm only part way through reading the interview in Q (I'm off to my quiz in a short while so I'll finish it off over the weekend) but in the first few paragraphs it describes Barlow as the 'most business-like' ... and quite frankly ... that is all this whole thing is about ... business - its just that Barlow has no 'joker' facade to hide behind. I find the whole thing quite interesting to observe now. The fact that Barlow refers to the whole thing as an 'event' makes me even more sure that music has nothing to do with it. Kath Kath...What os werong with you...SAhame is a bloody dreadful song...I only bought it out of loyalty to the man but it will never see the light of day again... The Flood is alright but I am hoping for something better off the rest of the album :blink:
October 28, 201014 yr Kath...What os werong with you...SAhame is a bloody dreadful song...I only bought it out of loyalty to the man but it will never see the light of day again... The Flood is alright but I am hoping for something better off the rest of the album :blink: Yes ... the least said about Shame the better (it proves that Europe does have a decent sense of musicality in steering clear of it). I cannot believe that you (I always thought you came across as so sensible) would buy a song out of sheer loyalty! You disappoint me! :lol: I feel exactly the same about The Flood ... it's OK but it isn't the killer I was expecting it to be. From the sound of that Q Review though ... it looks like the rest of the album could be better. Kath Edited October 28, 201014 yr by Kathyp
October 29, 201014 yr Once promotion starts The Flood will do much better in Europe overall I am sure. They are on Wetten Das next week in Germany - I will be shocked if it doesnt hit #1 as a result. Amazingly they will be on the French TV Show 'Le Grand Journal' next month too - obviously Rob saying they will play Paris is true and it will probably go on sale around the same time as this promotion for the single and album. Tbh this tour could very well end up being the 50 dates rumored - knowing Rob he will be loving the success and the breaking of records etc with everything being in th efuture but when it comes to having to do loads of work - all the reheasing and when they are half way through the tour he will get sick of it and doing the same thing each night. I hope this doesn't happen but with Rob no-one knows. He really can't afford not to finish the whole thing though - especially as the last leg is in Europe - him leaving by that stage would be an absolute disaster. :o
October 30, 201014 yr Author Once promotion starts The Flood will do much better in Europe overall I am sure. They are on Wetten Das next week in Germany - I will be shocked if it doesnt hit #1 as a result. Amazingly they will be on the French TV Show 'Le Grand Journal' next month too - obviously Rob saying they will play Paris is true and it will probably go on sale around the same time as this promotion for the single and album. Tbh this tour could very well end up being the 50 dates rumored - knowing Rob he will be loving the success and the breaking of records etc with everything being in th efuture but when it comes to having to do loads of work - all the reheasing and when they are half way through the tour he will get sick of it and doing the same thing each night. I hope this doesn't happen but with Rob no-one knows. He really can't afford not to finish the whole thing though - especially as the last leg is in Europe - him leaving by that stage would be an absolute disaster. :o I think he will be fine De Niro..Robbie is hyped up for this one & I think has a point to prove ....he is not on his own this time & not on stahe all the time so I can see it working out fine.... A huge amount of dates though...none of the lads are getting any younger , maybe that is why they are designing the show as it si by they all getting a break at some stage....
October 30, 201014 yr Author PROGRESS Sci-fi stadium pop : their giant leap forwards. **** The "journey" has become the pre-eminent cliche of the tv reality age. From the X-Factor down, no talent show is complete without a failed pop star, chef or pig wrangler trying to dam the tears of dissappointment with the thought of some sort of fast-tracked personal growth, even if said "journey" is about to take them straight back to a job cleaning the fryers in their Dad's chippy as fast as it whipped them out in the first place. Take That know all about journeys, They may pre-date reality culture as we know it, but their story is the stuff of Simon Fuller's dreams: a motley assortment of Northernclub singers, breakdancers and double-glazing salesmen are brought together by a music industry Svengali and spend the next few years becoming the biggest pop band around, only for their in-house loose cannon to quit and embark on a stellar solo career, leaving his former colleagues clutching one way tickets to Celebrity Big Brother. More than a decade on, the story is flipped on it's head: the four discarded members reunite and tap into a vast resevoir of goodwill to become Britain's biggest band once more. Being the nice blokes they are , they offer an olive branch to their old mate, now on a drug fuelled creative downswing ,who returns to the family bosom. Stick that in your pipe & smoke it JLS. Except that dosen't do justice to the complexities of the people involved,or explain just how Take That - they of the spangly cod-pieces and hen-party soundtracks-have made a record so joyously bold ,on trend and huge sounding that it stands a fair chance of winning over anyone who would rather sit through an entire BBC3 sitcom than listen to Back For Good. Comercially , Progress is a no brainer. Uniting thses two teams is the equivalent of placing the ball on the penalty spot, wideneing the posts and telling the keeper to go have a fag in the car park - an open goal that even a member of the England 2010 World Cup squad couldn't fail to convert. Musically, it's something else. As the title indicates , this is Take That's great step forward. there's not a whiff of Magic FM - bothering balladry, let alone bum-flashing disco-pop of theor original boy ban incarnation. Instead, Progress is a witty,gleaming, chrome-plated 21st century pop record that takes it's cues from US R & B, Swedish pop imp Robyn and, oddest of all, Muse. There's a batty dystopian sci-fi theme in there somewhere, segues that do away with gaps between songs, and even a metallic bass on one ( that's metallic as in "heavy" rather than "shiny ". Call it their Achtung Baby. It's no surprise that the first voice you hear once the thinder that ushers in the opening track "The Flood has faded away is that of Robbie Williams ." Standing on the edge of forever, on the edge of forever, he sings, setting the dials to "triumphant" over a backing track that's bigger than the Great Manchester area. The MOR stylings of the much-touted Williams/Barlow collaboration that is Shame ,from the former's latest greates hots album, was clearly an excercise in clearing out the cupboards. The band and co-producer Stuart Price ( Madonna and The Killers ) have honed their approach into a stylish machine-tooled sound that effortlessly balances the grand, the inventive and the tongue-in-cheek . S.O.S. is four minutoes of breathless future-popreplete with talk of "five second warning" and "preparing for ascension",plus a climatic drum battery that your average stadium rock band would give their eye teeth for. Evem more startling is the brilliantly barmy Kidz , a slab of jaw-dropping robot-disco complete with martial backdrop and rabble rousing hook ( "There'll be trouble when the kids come out") that suggests they've been watching the Dr Who eposides with Matt Bellamy. "What you looking at" sneers Mark Owen, a man not known for his Gallagher -esque levels of aggro,at one point. It's smart, funny & entirely unexpected. It's a measure of their canniness and their rediscovered ease with each other that Progress is front-loaded with Williams-led tracks. Whether sparring with Barlow on Wait or ramping up the Robbie Williams-isms on the diamond-encrusted Bontempi thythms of Pretty Things ("I'm just a piece of your pie chart, your'e in a room with a rock star"), he sounds more engaged than he has in years. But it's not a one- man show. Barlow clearly relishes the notion of wrongfooting people's perception of him as the Frodsham Barry Manilow: Wait starts with a patented grandiose piano intro, only for it to veer off into bonkers electronic territory. The others get a look in,too, with Howard Donald playing the intense introspection card on Affirmation and Jason Orange adding OTT spoken-word intro to Pretty Things. the mis-step is Owen's What Do You Want From Me ! , an apology to his wife for past philandering that takes self-flagellation to Olympic levels. By the time he yells " I still want to have sex with you", you'll be knawing your fist in sympathy or embarrassment. Rushed of blood to the head aside, Progress is a triumph, musically, conceptually, personally. The circle is complete and stronger than ever. Take That have got Williams's rock star charisma, Williams has got his mates back. It's been a journey for sure . Source...Q magazine.
October 31, 201014 yr It does seem a bit more interesting than TT's recent efforts :w00t: I may be forced to purchase this one :smoke:
November 1, 201014 yr Author Q Magazine http://i1004.photobucket.com/albums/af167/therobbiewilliamssiteukau/Picture4-57.png http://i1004.photobucket.com/albums/af167/therobbiewilliamssiteukau/fireshotcapture0973amaz-1.jpg http://i1004.photobucket.com/albums/af167/therobbiewilliamssiteukau/SCAN04.png http://i1004.photobucket.com/albums/af167/therobbiewilliamssiteukau/SCAN06.pnghttp://i1004.photobucket.com/albums/af167/therobbiewilliamssiteukau/SCAN07.png http://i1004.photobucket.com/albums/af167/therobbiewilliamssiteukau/SCAN09.png http://i1004.photobucket.com/albums/af167/therobbiewilliamssiteukau/SCAN10.png http://i1004.photobucket.com/albums/af167/therobbiewilliamssiteukau/SCAN08.png http://i1004.photobucket.com/albums/af167/therobbiewilliamssiteukau/24mx995.jpghttp://i1004.photobucket.com/albums/af167/therobbiewilliamssiteukau/183754153.jpg http://i1004.photobucket.com/albums/af167/therobbiewilliamssiteukau/SCAN05.png Thanks to TRWS, Thanks to Assie for the scans, and Mark Owen Daily. Edited November 1, 201014 yr by Cleo
November 1, 201014 yr http://www.heart.co.uk/london/music/take-that-takeover/ Interview with the lads by Emma Bunton from the Spice Girls.
November 2, 201014 yr Author Thanks to Tammyinlalaland on rw,com & filesocial.com Interview with Jason, Mark & Robbie http://filesocial.com/ngheuqd
November 2, 201014 yr ITV1 will give fans and viewers the first international opportunity to see their brand new film, Take That: Look Back, Don't Stare. The programme will be broadcast on ITV1 on 13 November ahead of the planned full-length DVD release on December 6th.
November 2, 201014 yr November 6: Wetten dass ..?!, Hannover (tbc) 7 (digital) 8 (physical CD) November: Take That single out "The Flood" November 13: 21:30 on ITV1 aired documentary Do not Look Back Spending November 14th: Performance at UK XFactor November 15: Departure album Take That with Robbie "Progress" November 18: Popstars show on ProSieben Germany by Gary November 19: Involvement with Children In Need broadcast on BBC1 TT 19 hours November 22: Rob and TT Live at Longue RadioBBC1 hours 10/12, 45 -Listen Live November 24: Rob and TT to "Le Grand Journal" show on French TV Canal + 1 December (date tbc): The Classic Concerts DVD Release Collection December 4: Rob and TT on the TV show "Wetten Dass" Düsseldorf December 6: Output DVD documentary with TT: Look Back, Do not Stare December 2: Final Popstars on ProSieben Germany (tbc) thanks to diario italiano
November 2, 201014 yr I bet Gary (Mr Balding-But-Greedy) is rubbing his hands with glee. They've got a lot to be thankful to Rob for. I wonder how much the album will be selling for in the January sales? Kath Edited November 2, 201014 yr by Kathyp
November 4, 201014 yr Take That: still adored, a million love songs later The fans who first fell for Take That are now in their thirties and forties – but their devotion is as strong as ever, says Helen Brown . The Telegragh By Helen Brown Published: 6:13PM GMT 03 Nov 2010 Click on any internet forum for Take That fans this week and you’ll be greeted with streams of emoticons. The little yellow circles posted by those lucky enough to have secured tickets for 2011’s reunion tour – the biggest sold-out tour in UK and Irish history – are jumping for joy, waving cheerleaders’ pompoms or flushing crimson with lust. Those posted by less fortunate fans are flinging desolate tears from their faces, like the hormonal teenagers these women probably were when the manufactured boy band first thrust their synchronised hips into the national consciousness with their cover of the 1975 Tavares hit It Only Takes a Minute back in 1992. Those original fans – called “Thatters” – are now mostly in their late thirties and forties. Scanning through their internet exchanges, I see they’ve been sending their husbands and children to queue or phone up for tickets. Official vendors The Ticket Factory said that sales had exceeded the company’s previous record by more than 50 per cent. BT reported that the phone network carried between three and four times the normal number of calls. As the diehards pitted themselves against the public for precious seats, one Thatter warmly congratulates another on scoring tickets for the O2 show, adding: “And congrats on becoming a grandmother too!” How has the band inspired such undimmed passion in its earliest fans? And how has its rebranded 21st-century coalition won over legions of new, ticket-buying admirers? I suspect the answer to the first question says more about women than it does about Take That. It springs from a theory I developed at a Barry Manilow concert in 2008. The women around me were in their fifties and sixties, and from the way they fanned their heaving bosoms I assumed that many had a thing for young Barry back in the Seventies. It was a stretch for me to imagine the camply attired, Tango-faced entertainer on the stage as an object of female desire, but these women still worshipped at his sequin-seamed shrine. As with Cliff Richard, they loved his older, creakier incarnation with a profounder emotion than they had felt for the twinkly-eyed lad who had first caught their eyes. Since the Seventies, his songs had stayed by their sides for better or worse, in sickness and in health. He’d never reneged on his promise to offer them romance and passion whenever real life lacked it. So they humoured his every duff joke and awkward dance move like indulgent wives. As an audience, they all but pecked him on the cheek and handed him his golf bag. And it occurred to me that, whereas I couldn’t see many men of my acquaintance turning out to see ageing versions of the female stars they’d lusted after in their youth , many women who develop proper teen crushes on pop stars make a real commitment. They dream of growing old together . To enable this dream, however, the objects of mass female affection have to fuel the fantasy. And Take That have delivered. Not only have they evolved from bare-chested hunks with cheeky, boy-next-door accents into crinkly-eyed family men in cuddly Marks and Sparks roll-necks, they have made this transformation by way of a rift-and-reconciliation narrative that has gripped the nation. Gary, Robbie, Mark, Jason and Howard were assembled in 1990 as the British answer to the phenomenally successful New Kids on the Block. Their formula of wholesome good looks, high-energy dance routines and puppy-eyed ballads soon melted the targeted adolescent hearts. But then Take That broke up at the height of their fame in 1996. The band’s youngest, most charismatic member, Robbie Williams, walked out in 1995, claiming he felt as if he’d been released from a mental asylum and complaining that songwriter Gary Barlow had always been driven home after gigs, while he’d been dropped at a Posthouse on the M1 for his mum to collect. Fans were so devastated at the band’s dissolution that the Samaritans had to set up extra lines. Wildcard Williams made a great play of rejecting the whole clean-cut, boy-band world, took drugs, hung out with more authentic musos and launched the hugely successful solo career that would eventually see him sell more than 55 million records worldwide and become Britain’s best-selling solo artist of all time. The newly credible, laddish Robbie was suddenly a hit with heterosexual men, who piled up to see him at Knebworth and chant along with wry lyrics about the vulnerability of a modern manhood: “My bed’s full of takeaways and fantasies of easy lays/ The pause button’s broke on my video.” Meanwhile, it turned out that Gary had also been feeling hard done by. In his autobiography, My Take, he describes a trip to Toys R Us in Chester. Take That dolls had been licensed, but his wasn’t in stock. “Have you got any Gary Barlows left?” he asked. “No, we haven’t,” said the assistant. “You have to buy a Mark, a Howard, a Jason and a Robbie doll, then you collect the coupons and get a Gary for free.” After the split, and after he’d been dropped by the label that had signed on for his solo career, Barlow was also mortified to learn that his image at Madame Tussauds was being melted down to make a new Britney Spears. He says by then he was so depressed, and so fat, that his Tussauds figure could probably have made all three members of Destiny’s Child. But Gary had always known how to write a good song. The cleverness and durability of his craftsmanship had been creeping up on us. Even though I was sniffy about boybands in the Nineties, I had to admire the clever, onomatopoeic melodic play in the line, “In the twist of separation, you excelled at being free” in the band’s biggest hit, Back for Good. Barlow has now won five Ivor Novello songwriting awards, done work for charity and been universally lauded as a really decent bloke. So the nation looked fondly on Take That when they reformed, sans Robbie, in 2006. Thatters were thrilled and we teen sniffers had developed a sneaking fondness for the boys, who were somehow so uniquely British that America didn’t get them. Not even Robbie! They were our platinum-selling underdogs. Take That’s second coming has arguably been more successful than the first. They’ve pulled out some more hits but, more importantly, at a time when record sales don’t add up to much, they have turned their live shows into breathtaking spectacles. Their 2009 Circus tour featured acrobats, a waterfall and a 30ft mechanical elephant, becoming the fastest-selling tour in UK history. The reconciliation with Robbie is perfectly timed. The original Thatters are mostly now married with kids. Their husbands like Robbie’s solo stuff and can hum along to all the singles that have featured on TV adverts. Their kids will love a big top spectacular. The new tour will bring not only the band, but the fan’s family together. In all the excitement over the manband’s personal reconciliation, few have given much thought to what their new music will sound like. There’s a new album out this month, called Progress. It’s Take That’s sixth album, and their first in 15 years as a five-piece. The title is meant to reflect the group’s evolution. The first single, The Flood, will feature Gary and Robbie on lead vocals: ideally, it’ll see craftsmanship and charisma combined. But it might tank, like Robbie’s current, Gary-featuring single, Shame. The fans won’t care if it’s any good or not. They’ve all preordered their copies. And, a million love songs later, I suspect those emoticons will still be weeping, flushing and cheering them on.
November 13, 201014 yr Author THE FULL ENGLISH Gary Barlow can’t even begin to explain his excitement at having all five Take That members back together, he tells BRIAN BOYD ROBBIE’S LYING on the floor, Mark is on the phone, Howard is stretching his back and Jason is dozing. Gary, though, is pacing around the room, breaking off slabs of organic chocolate, looking over his shoulder and then shoving them into his mouth. He studies the wrapper intently. “This is dead-posh chocolate. I’m usually a Cadbury’s man.” He breaks off another big chunk, then hides what’s left of the bar under a magazine before thinking better of it and putting it back in his pocket. We’re in the penthouse suite of a London hotel. The soap opera that is Take That is back. Fifteen years after Robbie Williams flounced out and five years since their revival as a four-piece, the band that was only ever meant to be a short-lived UK version of New Kids on the Block are about to release what their record company claims, in an avalanche of exclamation marks, is the album of the decade. Barlow – who at 10 years of age, watching Depeche Mode singing Just Can’t Get Enough on Top of the Pops, decided it was a pop star’s life for him – is unusually stolid. He displays none of the theatrics or melodrama of his band-mates. For someone who has turned notions of love, loss and regret into some of the best pop music of the past 20 years, he can sound like a middle-management drone. “It probably comes across that way because music is all I can do. I can’t ever work a till at Sainsbury’s, so I’ve always been the ‘we have to understand how the music business works’ one in the band, because there’s nothing else out there for me,” he says. “You should see me when I arrive for work. When I get out of the car to go into the studio I really have to tell myself, ‘Don’t run! Don’t run!’ because I’m that excited. I can’t wait to get into that building. I love being able to go in and make music and produce and write songs. I love that feeling of what I’m doing now in the studio is going to make a difference to the charts.” He pulls his chair up closer and says: “I can’t even begin to get across how exciting doing this album as the five of us was. There was so much energy. We were all dying to make this record; we had waited all this time to do this, to have Rob back again.” The album, Progress , is a grown-up electro-pop affair with none of the lighter-in-the-air power ballads of old. It’s bleepy and synthy – not too far removed from anything by The Killers and Scissor Sisters. It’s like a boy band having a knee-trembler with Krautrock up a back alley. “Normally I write on a piano; this was written on a laptop,” he says. “Nobody knew we were all working together again. We only announced in July that Robbie would be on the album, but by that stage we had spent six months sitting around a laptop in a studio. And we were a new band, literally a new band: we changed our name and everything, and the plan was to release this under our new name, The English. We figured there’s been Take That Part 1, and there’s been Robbie solo, and then there’s been Take That Part 2, so let’s just drop all that and call ourselves The English. “Having a new name meant we weren’t going, ‘Oh, that doesn’t sound like That That, the fans won’t go for that,’ during the recording. That’s why it’s such a different sound for us. Being The English let us be something else musically. This was supposed to be our side project, our cool-music album. We did a bit of research about renaming ourselves and asked around, and all we got back from people was, ‘What? We’ve waited all this time for the five of you to get back together and you’re going to call yourselves something else?’ so we sort of gave up on the idea and went back to being Take That. But reluctantly so.” Before all that, there was a group therapy session. When Williams walked away, or was sacked, in 1995, there was a lot of name-calling and finger-pointing in the press; it soon escalated into an all-out war between Barlow and Williams. “A lot of bad stuff happened, really bad stuff, and I hadn’t actually set eyes on Robbie for more than 10 years when we found ourselves in Los Angeles two years ago, mixing the Circus album,” he says. “He lives in Los Angeles, so we just, in a sort of impromptu way, invited him down to say hello, and I remember him walking into the room and I could barely look at him. On the surface it was all matey-matey stuff, but for me it was like meeting someone I’d never met before. To be honest I found it hard, and I sort of sat back and let the others talk to him. I think Robbie thought I was sat there steaming with anger. I wasn’t. I had dealt with all that stuff – well, okay, not all of it. But I had dealt with him saying all those things in public about me.” On the way out Williams invited them all up to his house the following night. “That’s when it all happened,” says Barlow. “He took the lead and said to me, ‘Look, I’ve got things I’ve got to get off my chest with you,’ and I said, ‘That’s good, because so do I.’ For the next hour or so we apologised for what had been said and agreed that the whole thing was really insignificant. We ended up laughing about it. But we both needed the apologies – and we both got them. It was absolutely group therapy, and that allowed us to get back together again. But I had resented him at the time for leaving the band, because I knew it would split us up.” When the band split it was taken as a given that Barlow, the only songwriter in the band, and a gifted one at that, would be the George Michael figure, strolling into a glittering solo career, and that the other four would be Andrew Ridgeleys. “It really didn’t turn out like that, did it?” he says, smiling grimly and reaching for the chocolate again. While Williams went on to become one of the most successful British solo artists of all time, Barlow, “the musical genius behind Take That”, was ignominiously dropped by his label and put out to pasture. “I was depressed, very depressed,” he says. “The weight was the most noticeable thing. That was the worst bit. I was getting a bit immobile, actually; it was that bad. I had problems even walking. My wife encouraged me to see a doctor. He said that I was in the obese category – and I wasn’t just slightly obese, I was well into the obese category. He sent me to a dietician, who enrolled me in a gym, and it was so depressing being at the bottom of this mountain that you’ve got to climb. I didn’t seek help. I did it the old-fashioned way: I ate less and went to the gym. It came off slowly, and if there’s one thing I know it’s that I’ll never go back there again. There was a lot of pain, and everywhere I seemed to go I’d be tormented by that bloody song,” he says, referring to Williams’s Angels. “It was really hard for me, but I think people get it wrong. They think that it was because Robbie was so successful and I wasn’t. But that wasn’t it; it was because my life had been ripped away from me. Music is all I can do. Music is it for me. The thought of, Christ, is this it for me? was hard, very hard. I was just thinking, I’ve worked all these years and now it’s all been taken away from me. That was the depressing thing.” He stares out of the window for an eternity. “If you think about someone who does what we do, we spend our whole life going, ‘Is that any good? Do you like it?’ We’re constantly giving up ideas and wanting them to be accepted and loved by everyone. And if you lose your confidence you’re putting yourself down at the very first step. But the confidence is back now. I’d like to say we know what we are doing, but we don’t. You can’t in this business. You just go in and guess: ‘Is it great? I think it’s great.’ It’s never as planned as it looks. But the excitement now for us is that the new stuff is progressive and different. There’s even talk of us playing Glastonbury!” He looks over at his bandmates. “I remember meeting them all for the first time, 20 years ago,” he says. “I’m not the same person now, and they certainly aren’t. So much has happened individually and collectively. What was that you said earlier? It’s like a soap opera. It certainly feels that way. But this episode is different: it has a kind of magic about it.” Faster, higher, stronger Billed as the biggest tour in UK and Irish history, Take That’s live shows for next year have already smashed box-office records (a million tickets were sold on the first day of availability). “We have our own circuit now when we play live,” says Barlow. “We don’t go and do festivals in Belgium, because they’re not for us. We’d rather put on our own event where we know how much people are paying for car parks and Diet Cokes. I hate the idea of doing some festival and they’re ripping off all the fans and the band doesn’t even know about it. “The new show will have the theatricality of the Circus tour, and we’ll split it up each night so that you’ll have us as the old five-piece, then you’ll have Robbie doing some solo stuff, then us as a four-piece, then us as the new-five piece. We’re just trying to integrate all of that into one show now.” Source...Irish Times
December 13, 201014 yr Irish interview with the lads is being played any minute.http://2fm.rte.ie/now_playing/popout
December 13, 201014 yr Just Gary, Howard and Jason. Listen back http://www.rte.ie/podcasts/2010/pc/pod-v-1...icktakethat.mp3 Was listening this morning to a different show on that channel now and they have just finished discussing the XF last night. Someone text in to say how great Robbie was on the LLS and XF and how he had got his mojo back. The female XF 'expert' said she wasn't sure about him being back and how he had taken over the band and was the leader of the pack which she wasn't comfortable with. She said he was a loose canon and claimed everything was about him. When the host said it was all about the money - she said TT were making a fortune without Robbie and it was him who needed money. You really do have to laugh. If you combine the weath of Gary, Mark, Jason and Howard and DOUBLE it it still doesn't reach Robbie's wealth (at least £130M - sadly The Sunday Times Rich List has lost all credibility in recent years. I remember Rob made £30M for the 06 tour personally, plus £10m+ for IC and Rudebox - yet the ST only put him up by £5M - a total joke. Then they brought him down by £25m the year before last randomly - I expect next year's edition to take another 10m off his tally for no apparent reason) and yet he needs money? :lol: None of them need money but Rob certainly doesn't. She then went on to complain about Howard and Jason not being part of the LLS interview. The host then said "what would you ask them? Nobody cares about Howard and Donald". I was expecting her, being an 'expert' to correct him and tell him it was Howard and Jason but no.
December 13, 201014 yr Author Just Gary, Howard and Jason. Listen back http://www.rte.ie/podcasts/2010/pc/pod-v-1...icktakethat.mp3 Was listening this morning to a different show on that channel now and they have just finished discussing the XF last night. Someone text in to say how great Robbie was on the LLS and XF and how he had got his mojo back. The female XF 'expert' said she wasn't sure about him being back and how he had taken over the band and was the leader of the pack which she wasn't comfortable with. She said he was a loose canon and claimed everything was about him. When the host said it was all about the money - she said TT were making a fortune without Robbie and it was him who needed money. You really do have to laugh. If you combine the weath of Gary, Mark, Jason and Howard and DOUBLE it it still doesn't reach Robbie's wealth (at least £130M - sadly The Sunday Times Rich List has lost all credibility in recent years. I remember Rob made £30M for the 06 tour personally, plus £10m+ for IC and Rudebox - yet the ST only put him up by £5M - a total joke. Then they brought him down by £25m the year before last randomly - I expect next year's edition to take another 10m off his tally for no apparent reason) and yet he needs money? :lol: None of them need money but Rob certainly doesn't. She then went on to complain about Howard and Jason not being part of the LLS interview. The host then said "what would you ask them? Nobody cares about Howard and Donald". I was expecting her, being an 'expert' to correct him and tell him it was Howard and Jason but no. Howard & Donald :rofl: :rofl: ...see that's what happens when she spends too much time ogling Robbie instead of focusing on the other guys on the band.... & where did she get the idea that he was the leader of the pack .... I hardly notice the others exist :blink: but that being said I do like ALL their input to the new album
