But it's only about Number 40 on Amazon. :angry: :unsure:

It's #9 on pre-released on Amazon <_<

 

http://www.amazon.co.uk/gp/new-releases/music/

The Special edition is #13 :smoke:

Different covers :rolleyes:

 

http://ec1.images-amazon.com/images/P/B000HC2MFC.01._SCLZZZZZZZ_SL150_V39858659_.jpg

 

Special Edition ^_^

 

http://ec1.images-amazon.com/images/P/B000HC2MFM.01._SCLZZZZZZZ_SL150_V40663419_.jpg

But #1 on HMV is great of course :D

The thing is, if half the people are buying the normal one and half the Special Edition one the sales figures are being split. They should really combine them when working out the sales charts on Amazon. <_<

The thing is, if half the people are buying the normal one and half the Special Edition one the sales figures are being split. They should really combine them when working out the sales charts on Amazon. <_<

 

I agree, it is very annoying :angry:

 

If I pre-order the special edition or the normal CD on CD-WOW i will be saving alot of money but here in Ireland it will be out on the Friday 21st and CDWOW are sending it out on the monday so it's not worth it :P

Everyone will get hearing this CD before me. :o :(

You mean you did'nt hear IC until the monday it came out :o

 

I had heard the entire album about a week before :lol:

 

So only about 2 weeks to wait hopefully :lol:

Different covers :rolleyes:

 

http://ec1.images-amazon.com/images/P/B000HC2MFC.01._SCLZZZZZZZ_SL150_V39858659_.jpg

 

Special Edition ^_^

 

http://ec1.images-amazon.com/images/P/B000HC2MFM.01._SCLZZZZZZZ_SL150_V40663419_.jpg

 

 

:mellow: :unsure: :???: :unsure:

The special edition cover looks like it is about 20 years old :lol:

 

Maybe it will be like IC, their will be a paper cover on the outside and the normal one inside. Well i hope so anyway :D

:unsure: Scotty, they both look the same to me, or am I missing something :lol:

:unsure: Scotty, they both look the same to me, or am I missing something :lol:

 

:lol:

 

They are the same except the first one is must more colourful and new looking. The special edition looks old and less colourful :unsure:

but I've ordered the special editon for more money, I expect that one to be of better quality :blink:

 

Perhaps I should buy two ^_^

Here is thr Q Mag Review <_< Thanks to Linz from RWAP for the article and pic

 

Fallen Angel

 

He can do whatever he wants. But why, oh why, this?

 

**

 

What a bizarre, baffling and downright strange record this is.

Robbie William's seventh studio album is easily the most peculiar of his normally streamlined career. It doesn't even seem like a "proper" album, more a collection of B-sides and experiments that would normally be saved for the end-of-career boxset. Or a Pet Shop Boys boxset, since one track, We're The Pet Shop Boys (originally by obscure electro artist My Robot Friend-chorus "We're The Pet Shop Boys") seems like a mix up at the pressing plant.

 

Another four of the remaining 16 songs are covers, increasing the feeling that something is not quite right at William's HQ. Tabloid editors will find that Rudebox adds plenty to the saga of his tortured psyche. Staunch fans, such as the millions who turned out for his recent stadium tour, will ask one or two questions. Either, "Who's stolen our beloved entertainer, the brilliant song and dance man who brightened the last decade of our lives?" or more bluntly "What the hell is this?"

 

For William's himself, Rudebox is an apparently straightforward affair.

"I suppose I've been trying to please a lot of people that are unpleasable," he said recently "Now I'm 32 and I've just gone, Oh **** yeah, this is me.".

 

So how exactly has Robbie Williams pleased himself? He's decided to blow off some steam, billing Rudebox as simply a collection of songs and styles that he loves. The reality is a sketchy mix of baggy, rap, electronic and pop tracks patched together by a whole gang of collaborators. His most recent aide-in-chief, Stephen Duffy, receives a sole co write, the Black Grape-lite of Keep On, plus a Hi NRG cover of his 1985 solo hit KIss Me. Elsewhere there's assistance for The Pet Shop Boys, fashionable New York hop hop DJ Mark Ronson and veteran dance producer William Orbit, among others.

 

Inevitably, Rudebox is all over the shop, although not without flashes of excellence. On the few occasions that song, collaborator and the William's chutzpah chime, it is indeed a blast.

Lovelight, (penned by UK soul man, Lewis Taylor) is nimble R&B that channels the spirit of George Michael's Fastlove. Cheek is added to the swagger with the cover of world music nabob Manu Chao's King Of Bongo(retitled Bongo Bong here) The Gypsy Punk original-about a misunderstood musical prodigy, "a king without a crown" is now a thumping OTT romp with chav princess Lily Allen chirruping "King of the bongos/Bong" in the background. The Pet Shop Boys offer their usual class and polished synths, producing She's Madonna, an ade to the titular's star's pulling power with a killer chorus, "I love you baby/but face it, she's Madonna"

 

And that's largely it for high points. All good popstars are magpies and great ones, such as Madonna, make pilfered styles their own. Left to his own devices, without a Duffy, or God forbid a Guy Chambers, to bounce off, Williams seems incapable of editing his output. The two junior baggy tracks, Keep On and Good Doctor, are particularly woeful. And not just because Williams's ludicrous bid to out gibberish Shaun Rider (can't speak/Tingtong ting!"), but because he also mimics his intonation attempting to plunder some kind of street cerd into the bargain.

Anyone who's heard the album's title track will realise that what's currently fun for Williams isn't quite so terrific for the listener-it's hip hop as interpreted by Michael Barrymore.

For Williams, this may be the point, he's happy being "some kind of end of the pier entertainer", as he recently described himself. After all, it's helped endear him to the nation, not to mention baffle perfectionist America. Sometimes though, being a bit shonky isn't charming, it's substandard.

 

Most worryingly, Williams sounds trapped, obsessing over some past during a final, vagely themed section of the album that covers his childhood (The 80's) and the blissful interlude of acid house (the otherwise lovely, Orbit-produced Summertime). Sometimes he sounds like he's trying to bottle fleeting moments of happiness, others like he's still not grown up. (As Q went to press The 90's a track which covers the Take That years was hauled off the album due to remarks about their manager Nigel Martin-Smith)

He lashes out even more widely on barmy "secret" track Dickhead. A pseudo Eminem rant arriving seven minutes after the close, it's aimed at anyone who's ever crossed him, especially rock critics: 2What do you expect?/Dickhead!/Radiohead?/Dickhead!" It doesn't do him any favours, especially not when he warns, "Size 10's dickhead!/My security is a dangerous crew/They'll kick ****/Out of you"

 

If, as it's author insists, Rudebox show the "real" Robbie Williams, on this showing he's bored and directionless. Of course he is also the leading British popstar of his generation, someone who's earned the right to do exactly what he wants, including release a confused folly of an album. But just because you can do something it doesn't mean you should.

 

http://img.photobucket.com/albums/v235/Lindsay0076/Qpic.jpg

mmmmmmmmmmmmmmmmmmmm

 

he looks very tall and cute! :wub:

He IS tall and cute :wub:

He's too old to be wearing them sort of clothes :lol:

Not sure if he's too old for that....I just don't like it :rolleyes: :rolleyes: :rolleyes:

He IS tall and cute :wub:

 

 

Well I'm taller than him... :cry:

 

But he's veeeeeeeeery cute in that outfit.... :)