MUSIC

The Daily Express

13/10/06

Marcus Dunk

 

ALBUM OF THE WEEK

ROBBIE WILLIAMS: RUDEBOX EMI

 

ROBBIE'S RUDE AWAKENING

 

Robbie Williams has always been one of those stars who provokes strong reactions. The people who love him, really love him, while those who hate him, really, really hate him. It's difficult to know whether this album will change anybody's minds about him but it really should.

 

For not only is Rudebox a brave departure for Robbie, it's also his most accomplished record to date.

 

Not everything has changed, however. All the things that people love and hate about the boy Williams can be found here, from the cheeky-chappy joking through to the self-love and self-loathing that he seems to ricochet between. What's often missed by both the lovers (who think Angels is the pinnacle of his musical genius) and the haters (who despise him for the same reason) - is his smart sense of humour.

 

It's nowherw more evident than on two of the albums best tracks, The 80's and the 90's where he charts his rise from schoolboy failure to all-conquering boyband star to washed-out waster.

 

There's been a lot of talk about The 90's which had to be re-recorded due to some petentially libellous lyrics about Robbie's Take That days. Lead singer Gary Barlow, for example, comes in for some pummelling: "I adopted four brothers/some I liked more than others..but the lead singer made it hard to like him/but I still loved him, despite him". Its a witty ditty that proves yet again that Williams is a skilled songwriter.

 

It's musically, however, where this album really takes off. He leaves behind the stadium pop of earlier efforts to make the sort of music that he likes. As a result, the album ranges from stomping electro pop through raucous Primal Scream-like blues to French pop, and yet somehow manages to sound coherent.

 

Robbie's always been a more complicated act than either his rabid fans or detractors have aknowledged. Hopefully, Rudebox will go some way to making that clear.

 

 

Robbie Williams

The Times

 

Rudebox

EMI

 

 

A few years ago Mojo magazine canvassed its contributors and came up with 50 quintessentially eccentric British albums. Jostling for pole position were records by Syd Barrett, Kate Bush, Scott Walker and Julian Cope. Should they choose to revise that list in a few years Robbie Williams’s seventh album will be up there too.

 

We might finally have to start believing him when he says that he doesn’t want to be big in America. Listening to Rudebox you wonder if he even wants to be big in his own country. More likely, he’s past caring. Which is an exciting place for any pop star to be.

 

If you’ve already heard the first fruits of his collaboration with the production of Kelvin Andrews and Danny Spencer, you’ll be forgiven for not rushing out for this. Even performing Rudebox’s eponymous opener live to more than 250,000 fans in the week of its release failed to push it higher than No 4.

 

It’s a false start, however. On other collaborations the three plough a wonky electropop furrow that reconciles Williams the wit with the Stafford boy blooded on Eighties pop. In particular, Never Touch that Switch is sinuous synth-funk of the first order.

 

Williams’s blossoming facility as a wordsmith repeatedly takes the breath away. Even if you want to believe that the rhyme on She’s Madonna — “No man on earth could say that he don’t wanna†— came with assistance from his co-writers the Pet Shop Boys, it’s clearly Williams who shoulders the conceptual burden on The Actor. Here, a sleek slice of moody Europop frames a take in which the singer attempts to locate a kernel of humanity in his thespian conquest.

 

Coming from anyone else, the amounts of autobiography Williams insists on sharing would have long become tedious, and you fear the worst when you see that the penultimate two songs on here are called The 80s and The 90s. But, for an album made so casually, the attention to detail stops you in your tracks: “School was a laugh/ They didn’t have ADD/ Thick was the term they used for me,†he sings on the former, while minor chords hint at the pain.

 

Of course, we all know what happens to Williams in The 90s — “I met the other guys/ One seemed like a c**k/ ‘I think it’s going to be like New Kids on the Block’ †— but that does nothing to dissipate the sense of alarm when he recalls facing his own demise after leaving Take That, at the age of just 19.

 

More than a decade on, Williams has dealt with another career crossroads in the only way he knows how — by doing exactly as he pleases.

 

With Thanks to Purerobbie.com

 

The mirror gave it an awful review but no matter how amazing it is they would've anyway :rolleyes:

 

Predictable bunch of t**** :rolleyes:

The Mirror have an agenda. I believe they have never forgiven Robbie for giving that lengthy exclusive interview to The Sun the other month there.

They've been 'Robbie bashing' ever since then.

 

If he'd given the interview to The Mirror it would now be The Sun dishing out the awful reviews. :wacko:

I agree Jup <_<

 

Well I for one would much rather have good reviews from proper mags like NME, Mojo, Music week and proper papers like The Times than the joke that is the bloody Mirror :rolleyes:

From http://www.popjustice.co.uk

 

 

The last great pop album of 2006

Story filed Monday October 16 2006

 

After we did that graph the other week we never got around to actually reviewing the Robbie album, and now it's leaked so there isn't very much point.

 

There are lots of things we were wanting to say about it, but here are the key points.

 

 

 

1. It is the best album of Robbie's career.

 

2. It is a very clever album.

 

3. It is also a very funny album.

 

4. It is also a very touching album.

 

5. It is all a bit of a relief really.

 

 

Here's what some of the punters on the Popjustice messageboard have been saying about it over the last 24 hours.

 

 

 

"Never been the biggest Robbie fan, but for the first time ever I found one his songs instantly attractive."

 

"I really am shocked at how good it is."

 

"It's clear already that it contains some brilliant pop songs."

 

"This is easily the album of the year and BY FAR the best of Robbie's career."

 

"I listened to the whole album twice today and think it's the best album he's made in years."

 

"A few songs take a couple of listens, but this is fresh, catchy, different, witty, sad and very funny and definitely the best album Robbie has ever done. I too don't know why they decided to release 'Rudebox' as the first track - it is the worst single on there."

 

"I'm pleasantly surprised at this album."

 

"It's one of the best albums I've heard this year."

 

"I must admit after Intensive Care, I was well and truly done with Robbie Williams. Then he released Rudebox, which I loved... And now I've just had a listen to the new album, and well, I'm shocked at how good it is. To go from the naffness that was Advertising Space and Sin Sin Sin, and pull this out of the cupboard, is quite amazing. One of the CDs of the year."

 

"This album is an absolute masterpiece. The 80s and The 90s in particular is ****ing outstanding."

 

 

You can't argue with popularity. Well, you could...

 

 

 

"My ears have never heard anything as $h!t as this album."

 

 

 

...but you'd be wrong.

 

:yahoo: :yahoo: :yahoo:

 

 

 

 

:rofl:

 

I posted that last sentence about the 80's & 90's :D

 

I would still like a track by track review by them though. <_<

 

Still a great review however

We are going to be getting a load of reviews in the papers/mags at the weekend. I hope The Sun reviewer likes it as much as Vicky. They gave IC 4 stars so hopefully it will be the same for Rudebox :D

Ill do a more detailed review closer to the weekend but for now i will leave you with this B) :

 

Now ive never been a Robbie fan, ive never liked any of his previous album, bar some of the singles on IC. However, Rudebox (the album) is seriously amaze! This coming from someone who doesnt like Robbie, it is a very diverse album, yet manages to be a strong album and it doesnt seem as if hes trying to be something he isnt.

 

I never thought id enjoy listening to a Robbie album....Ive been proved wrong! :D

:o :yahoo:

 

are you going to buy a copy though? :unsure:

oh yep :cheer:

 

when is it out? :unsure:

Monday :drink:

 

We all really want to it pass his last album's first week sales of 375,000 so buy at least 10 copies :kink:

Aye very good Scotty. Dream on. :rolleyes:

From http://www.news.com.au/heraldsun

 

 

Robbie reinvents on new album

October 19, 2006 12:00am

 

CAMERON Adams checks out Robbie Williams' new album track by track.

 

There's a music-world cliche that when artists are in their imperial period they could release an album of themselves farting and it'd still make No.1.

 

Welcome to Robbie Williams' farting album: the experimental album he's made because he can.

 

Except Rudebox is the most interesting album he's done in six years.

 

Gone are the anthems ready-made to woo stadiums and keep Robbie's golden goose laying platinum eggs.

 

Rudebox has moments that may alienate Sharon and Shane Suburbia, yet he's never sounded so creative and musically alive.

 

Gone are his regular songwriters, replaced by dance and electronic producers, some famous, some not.

 

There's a handful of covers -- most obscure -- there's no rock, no real ballads and lots of rap.

 

This is everything a pop star of his status should do, but rarely does; completely reinvent himself and see just how open-minded his fans are.

 

:huh:

 

Here is the review from Teletext on Channel 4. (I've had to type all this up :cry: )

 

 

For the 2nd album in a row, Robbie's led off with the worst song. Though, with 17 songs, the title track isn't the only duff moment on here.

Skip past the songs where he tries to rap and what's left is an adventurous- no, really- exercise in someone not caring about their supposed legacy.

Certainly, if anyone tries Angels drunken karaoke to the sparse Man Who Sold The World-style desolation of Burslem Normals then good luck to them.

There are moments of fabulous Hi-NRG, not least a wild cover of writing mate Stephen Duffys 80s hit Kiss Me which is his most outright pop for some time, straight off Madonna's Confessions.

 

Pet Shop Boys production She's Madonna is lavish, DJ Culture-style theatre.

 

Best is Good Doctor, as colourful Gorillaz getting stuck into 2 Tone era Madness thanksto Mark Ronson's faithful recreation of the Nutty Boys menacingly matey skanking.

 

The biggest surprise is Williams's skill at recreating early electro, with Dont Touch That Switch infused with the era's carefree experimentation.

With around a dozen good songs here it's a shame someone didn't pare down the duff parts: Keep On is a hideous Mondays tribute, while the 80s is a new low in trying to be Mitchell Brothers.

 

Overlong then but in years to come it may well be regarded as Williams's most interesting work.

 

7/10.

 

 

:rolleyes:

What a load of pretentious twaddle.

Robbie reinvents on new album

October 19, 2006 12:00am

Melbourne Herald Sun, Australia

 

CAMERON Adams checks out Robbie Williams' new album track by track.

 

There's a music-world cliche that when artists are in their imperial period they could release an album of themselves farting and it'd still make No.1.

 

Welcome to Robbie Williams' farting album: the experimental album he's made because he can.

 

Except Rudebox is the most interesting album he's done in six years.

 

Gone are the anthems ready-made to woo stadiums and keep Robbie's golden goose laying platinum eggs.

 

Rudebox has moments that may alienate Sharon and Shane Suburbia, yet he's never sounded so creative and musically alive.

 

Gone are his regular songwriters, replaced by dance and electronic producers, some famous, some not.

 

There's a handful of covers -- most obscure -- there's no rock, no real ballads and lots of rap.

 

This is everything a pop star of his status should do, but rarely does; completely reinvent himself and see just how open-minded his fans are.

 

 

 

 

Here is the rest of the article, track by track...

 

Rudebox - if you hate this single, you're going to loathe this album, the electro white-boy rap here wasnt a one off.

 

Viva Life On Mars - Robbie perfectly described this as "O Brother Where Art Thou meets Primal Scream when they were good". A cyber hoe-down with lyrical shout outs to George Michael's I Want Your Sex and Pet Shop Boys West End Girls.

 

Lovelight - The albums first cover and a master stroke. Robbie and producer Mark Ronson turn Lewis Taylor;s nsoul slowburner into a potent marriage of Jamiroquai and Justin Timberlake, complete with the falsetto he flirted with on Tripping and synths that sound like trapped beans. Gold.

 

Bongo Bong/Je Ne T'aime Plus - Another cover, this one French folk singer Manu Chao. Its not too different to the original, which means its alot of fun. Robbie goes tribal with help from beat king Mark Ronson, with Lily Allen along for the ride. Unlike anything he's done before, totally bonkers (the chorus runs "I'm the king of bongo baby") but totally brilliant.

 

She's Madonna - This is stunning. Robbie writes with the Pet Shop Boys and it sounds simultaneously morose and poptastic as you'd expect. The canny lyrics are about Guy Ritchie dumping his last girlfriend Tania Stecker (also one of Robbie's many ex-girlfriends) by saying "I love you baby, buy face it, she's Madonna". Robbie also shoehorns in the line "We're having drinks with Kate and Stella, Gwyneths here she's brought her fella" as well as random Madge song titles.

 

Keep On - An random collision of music - inspired by Happy Mondays - and gibberish lyrics that somehow works. More Lily Allen on backing vocals as Robbie notes "I think with my dingaling".

 

Good Doctor - Could have come from the Lily Allen album, a retro bluesy swagger with Robbie leaving illegal drugs behind for the over-the-counter variety: "No raves no more, just bedside cabinet". He also repeatedly says "Take that!" before comparing his chemical intake to that of of the late Who drug fiend Keith Moon.

 

The Actor - Another diversion, this is dark '80's Teutonic electro pop with a female starlet mocking the LA acting world along side Robbie's lyrics. Also includes a nod to Madge's Vogue.

 

Never Touch That Switch - The first real misfire, a throwaway electro mess written by is mates Soul Mekanik with no input from Robbie.

 

Louise - Faithful cover of the Human League's stark 1984 ballad. Produced by William Orbit, who adds trademark bleeps and electronic graffiti.

 

We're The Pet Shops - If the housewives havent given up yet, this cover will test them - its clearly here purely to amuse Robbie. This is a cover of My Robot Friend's obscure ode to the Pet Shop Boys, who also sing on it. Oh, the irony. SOunds just like Robbie fronting the Pet Shop Boys, he even gets to quote from a string of their hits.

 

Burslem Normals - Hmm. Downbeat electronic lament that is the anti-Angels.

 

Kiss Me - Easily the most sunthpop things he's done since Take That, here Robbie photcopies writing partner Stephen "Tin Tin" Duffy's 1985 hit. Commercial radio will wet their collective pants over this.

 

The 80's - The album's centrepieces see Robbie channel Mike Skinner of the Streets and Ian Dury fr is Brit rap. Robbie details his misspent youth of stolen cigarettes, flriting with drugs and losing his virginity. Fantatsic.

 

The 90's - Even better, detailing his start and messy end in boyband Take That. Frustratingly, his former manager Nigel Martn Smith has had enough of being dissed by Robbie and hence the huge gaps in this song are where offending lyrics have been removed because of a pending court case. Still, more sad lyrics about his time in the boy band ("I cant conform no more, I cant perform no more"), his clashs with Gary Barlow ("I met the other gys, one seemed like a c**k"), and his premature exit" "I'm thinking I can sing, why am I stood at the back? so f*** the band, give me vodka and gak." Best song on the album, but far from a hit.

 

Summertime - More William Orbit bleepy production, though the tune's a throwaway.

 

Dickhead - Abrasive hidden track, many will think its not hidden far enough.

 

The verdict: **** (4/5 stars - excellent)

After a few ropey auotpilot albums that seemingly pleased everyone but himself, Robbie's returned to being a risk-taking, divisive, exciting pop star not afaid to shed fans to save his sanity. Welcome back.

 

 

Thanks to tlc at TRWS

 

:yahoo:

This guy has always slated Rob so this is a total triumph :cheer:

 

 

 

 

:lol: Robbie Williams farting album :lol:

 

That's a great review, its so good to read the nice ones

 

thanks for posting it

The Channel 4 one - I think even the parts that are meant to be complimentary don't really sound like it.

A strange review if you ask me, although it gets 7 out of 10 the whole write up dosn't sound very positive to me. :cry:

But maybe I just don't get it :unsure:

Anyway, the Australian review sounds fab, this one doesn't get me confused

Apperently NME have gave it a brilliant review. Can't find it on their site though :arrr:

I just read that review from Mr Adams and it is brilliant :dance: