:o :o :cry: I don't feel very well :puke2:

Poor Sparkley :lol: :lol: :lol: :lol: :lol:

Jackie - ever the pessimist - Robbie Williams will sell at Christmas - mark my words.

 

Acts in Top 10 for Christmas will be Robbie Williams, Take That, Oasis, Westlife (unfortunately) Beatles, etc. They are typical Xmas pressie CD's

 

Besides he's still 14 which is not too low down to recover and make it back into the Top 10 - Top 5 even! and there might be promo stuff at Christmas with PSB's (not sure if that's correct so dont Quote me)

Edited November 23, 200618 yr by LizzieSarah

PS: He's gone straight in at number 1 on the Music DVD charts so there is no reason why the album cant move back up - dont get disheartened by a vindictive media. I hope someone buys them Rudebox for Christmas so they can appreciate it for what it is - a gr8 album!

You are on LizzieSarah what do you want the odds to be for Top 5 at Christmas. LOL

 

Lets hope you are right, but I don't think so, much as I like to read positive replies, as I would love to see the album climb higher during the Christmas period, you also have to be realistic. This album so far is not selling like previous albums, but fingers crossed.

Edited November 23, 200618 yr by Susie

Always look on the bright side!

Sorry but their new album is extremly bland and samey. I am very dissapointed :(

Don't know if you all know but the album (Beautiful World) has leaked

 

pm me if you want a link

Edited November 24, 200618 yr by dazza4783

does anyone have tt old b side tracks?

From http://arts.guardian.co.uk

 

 

Pop CD

 

--------------------------------------------------------------------------------

 

Take That, Beautiful World

 

 

(Polydor)

 

Alexis Petridis

Friday November 24, 2006

The Guardian

 

 

 

Spare a thought for All Saints. No, come on, try. Last week, their comeback album, Studio One, limped into the charts at No 40. Think of what the reconstituted quartet have been through recently: the teeth-gritting, the pride-swallowing, the mental strain of keeping a straight face as you doggedly insist that you're "doing it for the fans". All that effort, and you're outsold by singing bin man Andy Abraham.

Studio One's fate provides a lesson in the dangers of reformed pop bands releasing new material. Despite their recent tour's vast success, a cloud of doubt hovers over Take That's comeback album. For all the inarguable brilliance of their singles, Britain's best-loved boyband were hardly renowned as masters of the long-playing musical statement. Who today listens to the bits between the hits? Does anyone still ponder the imponderable lyrics of Take That and Party's title track ("don't catch the fall when I play real hard")? Who fast-forwards past I Found Heaven to enjoy its thought-provokingly titled B-side, I'm Out?

 

 

Meanwhile, Beautiful World's credits hardly inspire you to dig out the bunting and streamers. Among the reasons Take That are still regarded so fondly is that they embodied the appealing wonkiness of British pop. Their image was predicated on Carry On sauciness. Their early singles were the handiwork of Blackpool's Ian Levine, roly-poly inventor of cheerfully tacky 80s gay-club sub-genre Hi Nrg and, rumours persist, inspiration for the Abzorbaloff monster played by Peter Kay in Dr Who. Rather charmingly, something of the end-of-the-pier whiff clung to Take That even after fame and wealth arrived: the ex-members were still wont to make guest appearances in cosy Sunday night comedy-dramas or croon easy listening standards with Jonathan Wilkes, recently to be found starring in Mother Goose at Stoke-on-Trent's Regent Theatre.

But for Beautiful World, Take That have called upon songwriter/producer John Shanks, whose specialities are clinical, orthodontically corrected US pop (Ashlee Simpson, Lindsay Lohan, Hilary Duff) and the kind of drab AOR that sells millions (Anastacia, Alanis Morissette, Bonnie Raitt) - but never to anyone you've actually met.

 

Other changes are afoot. As befits the reduced circumstances of a man who quickly went from being tipped for global megastardom to being upstaged by Bill "Selwyn Froggitt" Maynard on Heartbeat, Gary Barlow has ceded his role as Take That's musical supremo: all the band members contribute to songwriting. Ironically, the end result sounds less like Anastacia or Ashlee Simpson than the polished pop-rock Robbie Williams recently seems to have abandoned. (Odder still, Wooden Boat sounds like recent Williams collaborator Stephen Duffy's band the Lilac Time). Occasionally, you see why Williams has tired of this sound, its brash choruses decorated with subtle references to classic rock (Strawberry Fields Forever on the single Patience) and currently voguish trends (falsetto vocals and echoing Coldplay guitars). The ballads are frequently so boring that one briefly recants meting out such harsh treatment to Rudebox: better Robbie Williams repeatedly shouting "I've got a bucket of $h!t!" than I'd Wait For Life, which makes hanging on for an unrequited love to realise her mistake and rush to your side sound no more gripping than waiting for the British Gas engineer to have a look at your boiler.

 

But Beautiful World lands more punches than a cynic might expect. The title track and Reach Out are dazzlingly effective pop songs. There are a handful of unexpected twists, hints of the old wonkiness that seem to have escaped their producer's notice: the folky Wooden Boat, the ersatz psychedelia of What You Believe In, and Shine, which matches Beatley pop to Scissor Sisters glitz.

 

That the latter track is Beautiful World's solitary moment of camp excess is enough to give at least one listener pause for thought. In the mid-90s, Take That's best records offered a radically different reading of musical history to Oasis' classic rock orthodoxy: one that favoured disco and the Bee Gees' perfect pop confections over the thudding bloke-rock of Slade and the Jam; one that lauded Barry Manilow's songwriting skills long before Guilty Pleasures or the Feeling were invented; that suggested sexual ambiguity might be more interesting than new laddism.

 

In 2006, Take That sound almost indistinguishable from post-Britpop mainstream rock: you can imagine Keane or James Blunt performing most of the songs here, albeit with substantially more bluster and substantially less charm. You can't deny that Take That have identified with devastating accuracy the kind of thing that grown-up former teenyboppers like nowadays - not for them the grim fate of All Saints. Nor can you really expect four thirtysomething men with any sense of personal dignity to once more climb into their PVC chaps and g-strings. But for all Beautiful World's polish, it's hard not to think that Take That might have lost something fundamental to their appeal along the way.

 

 

3/5

 

 

 

 

 

I am listening to it again and the first track 'Reach out' is by far the best imo and bettr than Patience but still not a patch on their earlier material -_-

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

 

 

TAKE IT AWAY, GAZ

Eva Simpson & Caroline Hedley

TAKE That premiered Beautiful World - their first studio album in 10 years - on Wednesday night.

 

Backed by a live band and orchestra, Gary, Jason, Mark and Howard played to an intimate audience of just 300 people at London's famous Abbey Road studios.

 

New songs Wait For Life, Shine and Patience - set to be No.1 on Sunday - rubbed shoulders with old favourites including Pray and Babe.

 

For those unlucky not to be there, the whole thing will be broadcast on Radio 2 this Saturday at 8pm.

 

And on Monday the lads celebrate the launch of their new album with two free signing sessions - at HMV London's Oxford Street at 12.30pm and HMV Market Street, Manchester at 6.30pm. Back for good? We certainly hope so...

 

:huh:

 

 

does anyone have tt old b side tracks?

 

 

 

i have them ^_^

Edited November 25, 200618 yr by Mayte

i now have links to all album tracks aswell as a link to the full album, let me know if anybody wants them

The 2 best songs on the TT album are What You Believe in and Wooden Boat

My favourite is 'Reach Out, one of the few songs that doesnt put me asleep :zzz:

Internatinal Singles Charts

 

Patience is

 

#2 (12) in Ireland

#4 in UK

#15 (57) in Sweden

 

#27 in World Singles Charts

Internatinal Singles Charts

 

Patience is

 

#2 (12) in Ireland

#4 in UK

#15 (57) in Sweden

 

#27 in World Singles Charts

 

It got higher than 'lovelight' and only charted in 3 countries :blink: I guess the UK chart really does dominate the World Chart then :wacko:

Due to the reason that world chart is counted differently it also includes download charts

 

and in most of European countries downloads Patience either number one or in top 10

 

iTunes Music Store Top 10 Songs

 

22.11.2006

 

Patience Number 1 in UK, Germany, Switzerland, Finland, Austria, Ireland, Luxembourg, Sweden