November 23, 201014 yr Lyrics of Underground Machine aren't any better than What Do You Want From Me? lyrics. Just saying...
November 23, 201014 yr For me underground machine is the type of song i dont take heed of the lyrics but now that its mentioned i will!!
November 23, 201014 yr Lyrics of Underground Machine aren't any better than What Do You Want From Me? lyrics. Just saying... It is something between do you mind and handsome man imo... And it is lyrically superior to WDYWFM. It is the electro-rockstar thing Robbie would write. I don't like the 'when the boy...' part but I love the rest of it. It is one of my favourites from Progress. The beast-man thing is EPIC (I think I will crop it and use it as a ringtone B) but people in my workplace won't apreciate it that much... so I am having second thoughts :lol: :lol: :lol: )
November 23, 201014 yr Can somebody please tell me the difference between this Progress regular and deluxe edition? Of course, when you receive it...
November 23, 201014 yr Not sure. I think you get 5 wee photos with the deluxe edition but not sure. I had originally ordered it but changed to the regular edition at the last minute. :huh:
November 23, 201014 yr I feel a trifle guilty. Am I the only one who hasn't bought it yet? I can't help it ... I was hoping to get hold of one of the 52 copies that Amazon had for £1! Money is tight at the moment. I have two holidays to save for for next year! I need to know the recommended five best tracks to download as I have £5.84 left on an iTunes voucher! Kath
November 26, 201014 yr CD - Take That: Progress http://i55.tinypic.com/2a4y7ts.jpg Reviews, By PKBOO, 26th November, 2010 Take That, add Robbie Williams, and stir. Largely ignored in Oz during their original early 90’s heyday (vests without shirts, brooding stares on CD sleeves, collaborations with Lulu) Take That were a UK phenomenon, selling more than 25 million records between 1991–96 alone before disbanding. Tracks like Pray and Back For Good found some favour down under, but just as some momentum was gathering, one Robbie Williams left the group after one bender too many in search of solo stardom. The rest is history. While the press touted unofficial lead singer Gary Barlow as ‘The Next Big Thing ©”, Williams surged ahead with his solo career on the back of the epic Angels and never looked back. Until now. Take That lay dormant until 2005, where nostalgic demand saw the band reform and release two albums (2006’s Beautiful World and ‘08’s The Circus) and undertake two hugely successful European tours. Take That 2.0 was a four piece, with Williams still in the midst of solo success. Both albums sold by the truckload in the UK, while Robbie’s previous solo offerings were met with scorn ( Rudebox ) and indifference ( Reality Killed The Video Star ). The whispers of Robbie’s return to the TT fold grew louder and in mid 2010 Take That 2.0 morphed into the original five piece. Fifteen years in pop is a lifetime. Take That, now a fully fledged ‘man band’ welcomes Robbie back with open arms (and considerable air time, 7 of the 10 tracks here are Robbie heavy) and a new direction, under the production guidance of one Stuart Price (Madonna, Scissor Sisters, The Killers, Kylie). Price takes Take That off the pop median strip they were fast becoming accustomed to and competently delivers one of the slickest electro pop albums in the past few years. Price pushes Take That towards new horizons without compromising their melodic power or ability to pen a sing-along chorus. It’s daring, sharp and an ambitious step forward that should pay dividends. With Progress unloading 520 000 first week sales in the UK it certainly proves that the appetite remains whetted. Lead single The Flood is a red herring, it’s the safest track on here. Simple mid tempo pop balladry, aiming to be epic, but falling short (as it did in the UK, peaking at No.2 behind Rihanna). It’s the closest thing to TT of old, Robbie dominates proceedings here, with some Gary Barlow thrown in for good measure. It’s a perfectly serviceable track, but does little to show what lies beneath. ( I agree ) B) Second track SOS with its savage electro disco pace is a true highlight. Its apocalyptic lyrics come thick and fast and the choppy chorus packs a punch. Mark Owen and Robbie Williams sound like they’re having the time of their lives at the best end of days party you will ever attend. Kidz (The z is there to remind you this isn’t the Kylie duet) is Take That taking on Muse via The Pet Shop Boys. Another Owen / Williams collaboration, Kidz comes peppered with a military beat, sleek guitars and is the finest song Robbie Williams has been associated with in nearly a decade. Brilliance. Elsewhere, Price’s keyboard heavy production resounds, the soft beauty of Pretty Things (Williams without his typical ironic balladry), Mark Owen’s What Do You Want From Me, which bleeps and pops not too unlike a male tribute to Confessions On A Dancefloor and potential single Happy Now, with its heavy electro verses and hands in the air pure pop chorus (I feel myself falling / I’m feeling happy now) are the best moments of an album full of pleasant surprises. Things only really come back to earth in the form of Underground Machine (a poorly constructed blend of static electro and heavy guitars, topped with Robbie pandering in his annoying ironic stage persona) ( I totally disagree, 'open your ears man ' B) and Eight Letters which solely exists to serve as a sappy Gary Barlow led ballad single should the new sound not take too well with the public (sample lyric: you can look back but don’t stare / maybe I can love you out of there). Safe and trite. What’s next? With the quintet of big egos (particularly Barlow and Williams) who knows? But one thing is for certain, English housewives and their daughters will be flocking with a decent percentage of the British public to buy the CD, the tour tickets, the poster, the limited edition egg timer (kidding) and Take That 3.0 will be smiling all the way to the bank. But with a collection of tracks this polished and tight they’d be mad not to. Highly recommended Source...samesame.com.au
December 7, 201014 yr http://i53.tinypic.com/2yvnoud.gif Take That Surges To Euro Albums Chart Summit December 03, 2010 - Global | Retail | Rock and Pop By Paul Sexton, London British pop five-piece Take That has Europe's new No. 1 album with "Progress" (Polydor/Universal), replacing Rihanna's "Loud," but the Barbadian star's "Only Girl (In The World)" (Def Jam/Universal) moves into a fifth week atop the pan-European Hot 100 Singles chart. "Progress," Take That's first album since Robbie Williams returned to the fold, moves 8-1 on European Albums after securing a second week at No. 1 in the United Kingdom, adding 208,000 sales to its century-best start in the territory of 518,000. It falls 1-2 in Denmark and Ireland, but now adds debuts of No. 1 in Germany and No. 2 in Austria. Rihanna's "Loud" falls 1-2 overall, holding onto the No. 1 spot in Switzerland, No. 2 in the Belgian region of Wallony and No. 4 in neighboring Flanders, No. 6 in Holland and No. 7 in Norway. But it's down 2-3 in Ireland, 2-5 in the United Kingdom, 3-6 in Austria, 2-7 in Germany and 3-7 in France. Her "Only Girl" single loses its last European No. 1 berth, falling to No. 2 in Ireland, but climbs 4-2 in Austria and stays at No. 2 in France, Spain, Flanders and Wallony, No. 3 in Italy and Holland, No. 4 in Switzerland and No. 5 in Norway. Back on European Albums, Bruce Springsteen's "The Promise: Darkness on The Edge of Town" (Columbia/Sony Music Entertainment) falls one place from last week's No. 2 entry. It's No. 1 for a second week in Sweden and Norway, but falls 1-4 in Germany, 1-7 in Spain and 4-8 in Denmark and Ireland. Shakira's "Sale El Sol" (Epic/Sony Music Entertainment) moves back 5-4 on its sixth week on the composite European chart, climbing 5-2 in France and holding at No. 2 in Italy, No. 3 in Portugal, No. 5 in Wallony, No. 6 in Switzerland, No. 7 in the Czech Republic and Poland and No. 10 in Hungary. Pink's "Greatest Hits - So Far" (LaFace/Sony Music Entertainment), which opened at No. 3 Europe-wide last week, falls two places to No. 5, despite improving 9-5 in Denmark and staying at No. 3 in Holland and No. 4 in Switzerland. Bon Jovi's former European Albums No. 1 "Greatest Hits - The Ultimate Collection" (Mercury/Universal) also falls two spots to No. 6 on European Albums, declining 1-5 in Portugal. Down one place each on the European Albums survey are James Blunt's "Some Kind of Trouble" (Atlantic/Warner Music), at No. 7, and Susan Boyle's "The Gift" (Syco Music/Sony Music Entertainment) at No. 8. Each album has its best market ranking of the week at No. 3, Blunt in Switzerland and Boyle in Flanders. Kings of Leon is steady at No. 9 overall with "Come Around Sundown" (Hand Me Down/Sony Music Entertainment), which holds at No. 2 in Poland and moves back 12-8 in the United Kingdom. Finally, British pop-R&B quartet JLS' second album "Outta This World" (Epic/Syco Music/Sony Music Entertainment) begins at No. 10 on European Albums, entering at No. 2 in the United Kingdom (on sales of 152,000, compared to an out-of-the-box 239,000 for the debut "JLS" set last year) and No. 4 in Ireland. Source..billboardbiz.com
December 12, 201014 yr ALBUM CHARTS 1. (1) PROGRESS (Take That) 4 wks 2. (8) CRAZY LOVE (Michael Buble) 60 wks 3. (2) OLLY MURS (Olly Murs) 2 wks 4. (4) LOUD (Rihanna) 4 wks 5. (3) OUTTA THIS WORLD (JLS) 3 wks Thanks to HAVEN charts
December 13, 201014 yr Over 200K sold. Total at least 1.1M sold - it will easily sell 300K this week - and at least 200K the week after that. Frankly 2M sales before the end of the year is not out of the question but I'd say around 1.8 MAX.
December 13, 201014 yr That Mr Bubble album must have sold bucketloads by now too. It seems to have been top of the charts for months :blink:
December 13, 201014 yr the current buble sales are the deluxe version but in total he has sold over 2 million copies of the album. Progress to date in the UK is 1,107,046 and i think it could potentially sell around a further 700,000 over da next 2 weeks,so i would agree and ssay 1.8 by year end at the most.Throughout next year it will easily cruise past 2 million and with the right promo and right single choice the album hasthe potential do sell around 2.3 million in the UK alone.
February 6, 201114 yr My favourite 'couplet' from Progress And I'm half awake in paisley print. I can see the world clearly but I have to squint. :lol:
