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Rudebox, the album: The reviews

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in Robbie Williams and Take That

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I think it's a shame there was not a nod to Rudebox in XXV even as a bonus track, I guess they felt an orchestra could not add anything to it :lol:

 

Been reading back some reviews from when it was released . I always think the album had it's own band of secret admirers

 

"Quote "

Where problems might lie with this album is the gulf between its content and anything that Williams has done before – challenging his fanbase to either jump on board or wave the Robbie express goodbye, and, with the negative vibes that preceded the album's release, the latter unfortunately seems more likely to win out.

 

Still, it's nice to see an artist taking a bit of a risk. And why not? Let's face it, his future popularity, or indeed wealth, hardly depend heavily on the success of this, which makes risk seem somewhat of an overstatement. But that aside, change is good.

https://www.rte.ie/entertainment/music-revi...9468-williamsr/

 

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I always find the reviews of Rudebox at the time so interesting, here are some more from back in the day

 

 

ROBBIE WILLIAMS: RUDEBOX

By Michael Lomas / 15 March 2007

ROBBIE WILLIAMS

RUDEBOX

EMI

 

 

It’s a bit of a strange experience writing about Robbie Williams’ seventh album, Rudebox now, some four months after it was released to deafening howls of critical derision and public indifference. It seems like anyone that has even a passing interest in Britain’s Greatest Entertainer™ has already made their mind up about the record, and duly written it off as a disastrous experiment in garish electro-pop and awkward, unconvincing hip-hop. Indeed, so overwhelming was the negative noise that greeted the album, it has obscured the fact that Rudebox, far from an epic failure, is by an absolute country mile, the best thing Robbie Williams has done since he sauced up Lulu on Take That’s “Relight My Fire”. That is not to say it’s a great album –- it’s at least five tracks too long, and some of the musical ideas Williams gleefully pilfers come across as nothing more that half-baked tributes to superior originals. However, listening to Rudebox, you get the impression that for the first time in his career, Robbie actually gives a shit about the music he’s making.

 

Previously Robbie Williams’ music has been the least interesting thing about him. That might sound a little harsh when you consider that, with former writing partner Guy Chambers, the man is responsible for at least a dozen Britpoppy anthems that have found their way into peoples hearts in a way most singers could only dream of. Just try stopping someone in the street between the age of 20 and 40 anywhere in Britain and asking them the words to “Angels” — you could bet your life they would swoon and croon the whole thing through. No, he may have had the hits, but the fascination with Robbie has always been the conflict of the man driven to take to the stage, play the clown, and entertain us at all costs, who outside of the spotlight has cut the figure of a desperately sad bloke, addicted to the all of the things that make any sort of normal life impossible for him.

 

Certainly musically, Robbie has never come even close to making a consistently decent album. His last two records in particular were packed full of the strangely anonymous session musician MOR rock that always seemed custom built to crack America, and always failed miserably. Rudebox on the other hand, desperately patchy though it is, at least has a vigour and life to it that goes some way to doing justice to Williams’ larger-than-life personality. Certainly, you suspect that the electro-pop and glaring rude-boy hip-hop (think MC Hammer rather than Public Enemy) to be found on Rudebox is far closer to the music Williams grew up with, and actually listens to, than the turgid FM rock of his previous albums — and even when he’s spending too much time clowning around, spinning tacky raps about the special Olympics and spaceships — at least he sounds like himself.

 

 

The title track and first single is probably the curveball that killed the albums commercial prospects stone dead — and even now, removed of its shock value, it’s a bloody odd song. A re-jigged cover of a Sly and Robbie track, it’s built around the kind of bleeping, ’80s gameboy synths that would probably be praised as cutting edge if they came from an American artist rather than a class clown from Stoke on Trent. And perhaps I’m just easily amused but the lyrics — dumb, crass and nonsensical though they are — are actually pretty funny. His affected, jokey street slang and references to TK Max sound like the babblings of someone who has stopped giving a toss about any notions of musical credibility and is revelling in the absurdities of throwaway pop music at its most ridiculous.

 

Trawling through the rest of Rudebox, you’ll come across gonzo country (“Viva Life on Mars”), brooding, slightly demented synth pop (“The Actor”) and swinging narcotic rap funk (“Good Doctor”). It’s the musical equivalent of Attention Deficit Disorder but crucially, Robbie Williams isn’t really an artist who has to make a coherent, steady album — he’s a born entertainer, a fantastic pop star making mostly brilliant, fun pop music.

 

“We’re the Pet Shop Boys” is a cover of a My Robot Friend song featuring the actual Pet Shop Boys on vocals, and as a kitsch ’80s tribute, somewhat bizarrely, it works. “Lovelight” also, may be another cover but it is still a brilliantly produced (by Mark Ronson) neon-lit ballad that recalls Prince at his most throwaway, surely never a bad thing. Even the reworking of the Human League, “Louise” is a surprisingly understated and heartfelt croon made more affecting by the fact it never once threatens to drift into widescreen epic ballad territory.

 

What lifts Rudebox above just being a funny, deliriously schizophrenic pop album though is the presence of two remarkable songs, “The 80’s” and “The 90’s”. Such is the shadow they cast over just about everything else Robbie Williams has ever done, it’s almost embarrassing. Inseparable in the running order, it’s impossible not to imagine these barbed, bruised and tender poems to misspent youth not being celebrated were they written by anybody else other than the eternally uncool Williams. “The 80’s” is flecked with the earliest memories of teenage years spent drinking Newcy Brown and fumbling around with girls down the park, that would strike a chord with anyone even vaguely familiar with an English working class upbringing. Better still is the “The 90’s” with its picture of a lost kid, shot to immense fame who’s now “running away from everything that I’ve ever been… pissed and f***ed and only 19”. Maybe after all this time, beneath all the smirking and winking and empty whinging, Robbie’s had something to say after all… who’d have thought it.

 

 

Given the critical reaction to Rudebox already, there isn’t much point in dwelling dwell on the songs here that don’t work -– “Bongo Bong and Je Ne T’aime Plus” which is so badly conceived and executed that even Lily Allen’s presence can’t save it. Likewise closing couple of tracks “Summertime” and “Dickhead” are best forgotten, the latter being a f***ing insane, pissed up rap that should never have made available for public consumption in a million years (to be honest I could only manage to sit through to about two minutes of it but it wasn’t pretty).

 

Despite these misfirings, Rudebox is an astounding, brave release from one of the worlds most high profile pop stars. It has already alienated much of his Heat reading fanbase and the folks that only buy two albums a year from Tesco will for the first time not be tempted by a Robbie Williams album. No record company in their right mind will surely allow a star of Robbie Williams’ stature and size to deliver something like Rudebox for a very long time. Which is a shame, because the record displays an edge and a wicked sense of fun sorely missing from most mainstream pop. Whether it’s a one off or not, with Rudebox, Robbie Williams seems to have lost a sizable portion of his audience in return for finding his musical voice. Rudebox is a flawed, stupid, incoherent mess of an album, but like the very best pop music, it isn’t half fun.

 

https://www.popmatters.com/robbie-williams-...2496145792.html

 

 

It's hard to imagine that Rudebox caused such a kerfuffle and what all the fuss was about.

 

More to do with an excuse to bring down a peg or two, the most popular artist in UK at that time than the album itself surely?

 

I wonder if it could happen again?

 

If say Ed Sheeran brought out an album that was unlike anything he'd ever done before -would it be so derided?

 

I think maybe music nowadays is more diverse than in 2006 and people are more accepting.

 

I could imagine RW doing something similar again and albums sell so little nowadays -why not?

 

I'd rather he did that than keep playing safe.

It's hard to imagine that Rudebox caused such a kerfuffle and what all the fuss was about.

 

More to do with an excuse to bring down a peg or two, the most popular artist in UK at that time than the album itself surely?

 

I wonder if it could happen again?

 

If say Ed Sheeran brought out an album that was unlike anything he'd ever done before -would it be so derided?

 

I think maybe music nowadays is more diverse than in 2006 and people are more accepting.

 

I could imagine RW doing something similar again and albums sell so little nowadays -why not?

 

I'd rather he did that than keep playing safe.

 

 

I agree Laura , musical taste is much more diverse nowadays . Rudebox the album was very much ahead of it's time . The attitude of the rag press at the time **sse* me off as if to say how dare you put out something like this without our blessing but as you say Laura the attack was also more personal. Rob always regrets not having put out Lovelight first but that song was a cover & I much prefer to see him take a chance with one of his own songs even if it turned out the way it did. I always remember Rob saying that the Soul Mekanik guys & himself had such a good time making the album that it never dawned on them that people would hate it . :heehee:

 

I sure hope he does Rudebox 11 , I would love to see those guys working together again . :thumbup:

Plus do you remember at that press conference in 2005 he p***ed a lot of them off by sticking up for someone (was it Kate Moss?) who they were dissing about cocaine use and he said that they were hypocrites as he had taken cocaine with most of the journos?

 

So they were gunning for him regardless of his musical output.

 

I can accept it's not to everyone's taste - but it felt fresh and new to me and to my girls I remember who were only 14/15 at the time.,

 

It wasn't nice for him what he went through straight after but he got to meet Ayda in the space that followed and matured as a person so he got his happy ending.

Plus do you remember at that press conference in 2005 he p***ed a lot of them off by sticking up for someone (was it Kate Moss?) who they were dissing about cocaine use and he said that they were hypocrites as he had taken cocaine with most of the journos?

 

So they were gunning for him regardless of his musical output.

 

I can accept it's not to everyone's taste - but it felt fresh and new to me and to my girls I remember who were only 14/15 at the time.,

 

It wasn't nice for him what he went through straight after but he got to meet Ayda in the space that followed and matured as a person so he got his happy ending.

 

 

I remember that well Laura & yes it was Kate Moss . We knew at that time that the press would try & get him & they did . Tbh though we may have thought it was bad at the time but remember back then it was really only the press/social media presence on www. FB & Twitter did not exist then. Now you read some of the stuff they say about people online, it's shocking. I think Rob has the right attitude though, he may read what is on FB & Twitter but never responds which is the right thing to do otherwise you are only feeding the monsters.

He said after the Strictly performance two weeks ago - he saw he was trending on Twitter but didn't go in and read which was just as well because he got slated.

 

But for every one of them there is a brilliant performance or a Brilliant review that he probably doesn't read either.

 

The reaction to Rudebox together with what he was taking at the time nearly killed him.

 

He's matured now and how he does professionally, whilst it's important, - it's not the most important thing in his life.

 

So I guess lessons learnt after Rudebox but that doesn't detract from it being a great album and has already been stated -the 80s and 90s are two of the best songs he's ever written. They are complete gems.

Do The Rudebox As We Take On Robbie Williams' 'Rudebox' On 'Flopstars' - Stick with it, it's worth a listen -_-

 

Written By Sam Murphy on 10/21/2020

 

 

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LISTEN TO PODCAST IN LINK BELOW :)

 

 

https://www.theinterns.net/2020/10/21/do-th...x-on-flopstars/

 

Do the rudebox! Shake your rudebox! Robbie Williams' controversial record Rudebox is in the hot seat for the latest episode of Flopstars.

 

The 2006 album is one of the most outrageous albums you’ll hear by a popstar at the peak of his powers. The inventive, electronic album was an outlandish, surreal and often absurd collection of songs that divided his core fan group. To this day, people still go into fight for Rudebox while others have erased its very existence.

 

Join Project U's Nic Kelly and our editor Sam Murphy as they attempt to decode the riddle that is Rudebox.

Edited by Sydney11

Oh thanks!

So many different materials about Rudebox... Need to find some time for combining all info together... Hard work!

Robbie Williams - Rudebox

 

Love him or loathe him, you simply cannot deny that Robert Peter Williams has been responsible for some of the greatest pop singles of the 90s and beyond. C'mon - No Regrets? Strong? Rock DJ?. So, it came as something of a surprise when last year's Intensive Care (actually the best-selling album of his career) - was disappointingly drab. Choc-full of reflective, mostly mid-paced ballads, it signalled a change of pace for Williams, and apparently waved goodbye to the incendiary, cheeky, likeable pop that he excelled in. We should have known better. Williams has returned with possibly not only the finest offering of his career to date, but one that sounds like the album he's always wanted to make. On this evidence, it would seem that he's been immersing his lugs in 80s nostalgia; not only are most tracks smattered with electronica, but the both Pet Shop Boys and Human League also feature in some form or other. The former's influence is prevalent throughout; on the title's track's funky, robotic-laced bleepfest, Buslem Normal's sparse, spacey glow and not least on synth-laden tongue-in-cheek homage She's Madonna. Messrs. Tennant and Lowe also make an appearance on the excellent cover of My Robot Friend's We're the Pet Shop Boys (irony is alive and well in RW HQ), which isn't the sole cover on offer, either. Manu Chao's Bongo Bong receives a spicy, colourful makeover with Lily Allen on guest vocals; Stephen 'Tin Tin' Duffy's 80s classic Kiss Me is well-suited to Williams' warm voice, which has now made it a surefire dancefloor hit at G-A-Y, and the Human League's Louise also gets the treatment - albeit with none of the bittersweet charm that the original exuded. Most of Williams' original compositions are also top-notch, oozing the cheeky-chappy charm and clever turn of phrase he was once famed for; and though there are a few bloopers (Good Doctor, Summertime), overall, Rudebox is a thrilling return to form that suggests that Williams still has a hell of a lot to offer.

 

https://entertainment.ie/uncategorized/robb...rudebox-177068/

Oh thanks!

So many different materials about Rudebox... Need to find some time for combining all info together... Hard work!

 

 

& they just keep on coming :lol:

ROBBIE WILLIAMS

Rudebox

EMI

***

 

For years Robbie Williams has been caught between the pushpull of stadium-filling clout and critical kudos. The former he has in spades, the latter he desperately craves, and grabs for it on his ninth album with a triple-pronged approach: a press blurb that cites impeccable references like Kraftwerk (The Actor), The Happy Mondays (Keep On) and Prince; covers of Manu Chao, Human League and Stephen "Tin Tin" Duffy; and guest production by The Pet Shop Boys and William Orbit. The result is a chunky 75 minutes of wideboy narratives that rip through genres like a hyperactive child (no coincidence perhaps?). When Robbie's not mimicking Mike Skinner, there's edgy pop aplenty: Summertime, a brilliant cover of Louise, and 90s, the latter a heartfelt account of an up-and-down decade. Robbie, you don't have to convince us you're talented. Just stop trying so damn hard. www.robbiewilliams.com Sinéad Gleeson

 

ISOBEL CAMPBELL

Milk White Sheets

V2

https://www.irishtimes.com/culture/pop-rock-1.1018428

 

That's why I'm looking forward to Rudebox vol.2!

Or at least some mini tour of Rudebox.

 

 

 

You just might get the wish , Gawd ! knows when though but I think it will happen at some stage

 

Robbie Williams Defends His Album 'Rudebox' And Confirms Plans For A Sequel

 

The 'Rock DJ' singer says that in some ways he feels the record was his best solo album.

 

Robbie Williams has defended his 2006 album 'Rudebox' and revealed he is planning to a write a spiritual sequel to the electronic inspired record.

 

The 'Candy' singer was heavily criticised in reviews for the album when it first came out, despite it going on to become a commercial hit, and says he still "stands by" the record today.

 

"I love 'Rudebox' by the way and plans are afoot to make another one," Robbie revealed in an blog post on his website this week. "It'll be ages yet, but I think it's time to do the second instalment. "In many ways 'Rudebox' is my favourite album of mine, but it's also the album I would take the most tracks off too." Robbie went on to explain that, although he doesn't like the album tracks 'Louise', 'Kiss Me', 'Summertime' and 'Keep On', he still enjoys the rest of the album. "I know I've said in concert about some of my songs not being the best [but] it's panto," Robbie explained. "For the record I f*****g love 'Bodies' and I love 'Rudebox'.

 

"If it wasn't for the perception it would be first on my set list, it's so much fun for me to perform."

 

The 'Different' singer went on to reveal that he plans to move back to arena shows in the future after his upcoming stadium tour, so that he can have more choice and variety with his set list.

 

"After this stadium tour I'm going to move back to arenas," Robbie promised. "I loved the O2 last year and I think I could fanny about with my choice of tunes in arenas.

 

"In stadiums you 'have to' hit it down the middle, it's too scary not to," he added.

 

https://www.capitalfm.com/artists/robbie-wi...x-album-sequel/

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Links for these very interesting podcasts provided below so head on over

 

EP 4: Robbie Williams (Part 1) - Childhood & Take That to Solo Pop Star

Episode 4, Aug 16, 2020, 3:15 PM

 

https://audioboom.com/posts/7659028-ep-4-ro...o-solo-pop-star

 

 

EP 4: Robbie Williams (Part 2) - Knebworth to Family Man

 

https://audioboom.com/posts/7664518-ep-4-ro...rection=forward

 

 

Move these if you wish Alex although second podcast covers Rudebox

Edited by Sydney11

HMtnPqP.png

Links for these very interesting podcasts provided below so head on over

 

EP 4: Robbie Williams (Part 1) - Childhood & Take That to Solo Pop Star

Episode 4, Aug 16, 2020, 3:15 PM

 

https://audioboom.com/posts/7659028-ep-4-ro...o-solo-pop-star

EP 4: Robbie Williams (Part 2) - Knebworth to Family Man

 

https://audioboom.com/posts/7664518-ep-4-ro...rection=forward

Move these if you wish Alex although second podcast covers Rudebox

 

 

Enjoyed listening to that podcast, reminders of lots of stuff I had forgotten in general ..

  • 4 weeks later...

GOOD DOCTOR

 

 

 

Video thanks to Captain Glack

Edited by Sydney11

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