Deluxe is here!!

100% Beau!!!

Fantastic reviews all round.

Today I'm really enjoying "Morrissey" 😍

The De-Luxe edition has landed

Available on all streaming platforms

.

Edited January 19Jan 19 by Sydney11

Absolutely loving these bonus tracks

SELFISH DISCO

Lyrics ( Credit to https://www.youtube.com/channel/UC3Nho5FPo__hIFbg_UlaCgA )

SELFISH DISCO

 

Wind your body to the bass line

Forget about your waistline

You can make time to take time

Like cigarettes after sex, it’s self-respect

You’ve been bullied by the cool kids

They won’t get what this is

Such pretentious bitches

Another brick in the wall, a wonder wall

If you don’t dance hold me like I do

Cos I just wanna look at you

A bit of S Club and a bit of Blue

90’s Pop looks good on you, It’s what we do

 

 

I Know What I Want

When Everyone is gone

I have myself a selfish Disco

Selfish

Drop On in a One

Keep on Stepping On

I have myself a selfish Disco

Selfish Disco

 

I’m Pulling an All -Nighter

Hold Up My Zippo Lighter

Strutting Like A Fighter

Whoa Coo Ca Choo

If you don’t dance hold me while I do

Cos I just wanna look at you

Some Buzzcocks and Siouxsie Soux

A Little bit of punk looks good on you, don’t’ tell her what to do

I Know What I Want

When Everyone is gone

I have myself a selfish Disco

Selfish

Drop On in a One

Keep on Stepping On

I have myself a selfish Disco

Selfish Disco

 

And I’m Flippin Like I’m Trippin and I’m Living it up

And I’m Flexing in the kitchen, I’m just making it up

And my neighbours keep on knocking but I’m deep in the cut

And I’m Turning it up I’m not turning it off

And I’m Flippin Like I’m Trippin and I’m Living it up

And I’m Flexing in the kitchen, I’m just making it up

And my neighbours keep on knocking but I’m deep in the cut

And I’m Turning it up I’m not turning it off

 

I Know What I Want

When Everyone is gone

I have myself a selfish Disco

Selfish

Drop On in a One

Keep on Stepping On

I have myself a selfish Disco

Selfish Disco

 

Wind your body to the bass line

Forget about your waistline

You can make time to take time too

Like cigarettes after sex, have some self-respect

❤️❤️❤️❤️❤️

Robbie Williams - BRITPOP

germanfailer

20h ago

86

I am a Robbie Williams fan and therefore I might be a bit biased, BUT I am very surprised by how good this album is. I like his last "proper" record The Heavy Entertainment Show from 2016 but I thought it got quite boring in a short time.

I think the idea to write an album he would have wanted to write in the 90s when he left Take That, is very cool. But I was a bit concerned because it is not always the best idea to relive the past and try to do something that has been done before quite a few times. In this case, I think the idea works and he created some of his best songs in a very long time. For me personally "Pretty Face" is a highlight. It is a pretty predictable Pop/Rock/Britpop - Song, but that doesnt take away from the fact, that it is still a good song. I don´t get the hate for "Morissey". It is obviously a sarcastic track, written from the perspective of a hardcore fan. Musically it is very cool, it sounds a bit Pet Shop Boys - ish and reminds me a lot of "She´s Madonna" from 2006. Which I like a lot.

"It´s ok until the drugs stop working" is also very cool. But I have to say I like most of the songs. There are only 1 or 2 songs which i skip from time to time. The one being "Human" which doesnt really fit in this whole concept in my opinion. And it sounds a bit cheap. "Rocket" is another track I skip sometimes. I have been listening to it a lot when it came out, but it doesnt really do it for me anymore. Especially in the context of the album, I dont think that it fits very well.

Still, this album will be one of the better ones in 2026, I´m very sure. I know that there will be people who don´t like it and thats fine. For me its great and I´m having a lot of fun with it.

86/100

Source Robbie Williams - BRITPOP review by germanfailer - Album of The Year

Robbie Williams – "Britpop": Breaking news! When the world was still in order!

Status:01/19/2026, 03:46 PM

By: Max Dax

Robbie Williams. © Jason Hetherington

The new album "Britpop" by Robbie Williams seems like a journey through time.

What do Robbie allow? Announced in advance for months, postponed several times, most recently to February, finally released last Friday without further comments: The new, the darn 13th album, the not really necessary new, not really eagerly awaited new album by Robbie Williams, which seems unnecessarily dated due to the fact that the title, "Britpop", and the cover as well as some tracks had already been known for months.

Cover of the new album by Brian Williams. © Sony Music

A word about cover and title: These are the names and looks like records that some design offices design in such a way that they (hopefully) cut edge surf the zeitgeist. In the cinema, one would speak of blockbuster posters, which is a learned sign language under which it does not work. Robbie Williams then comes up with a motif that shows two "Just Stop Pop!" activists smearing a portrait of Robbie (with a gap in his teeth) in a tracksuit, which hangs next to old hams in a dignified, public picture gallery, with pink paint (and documenting this process in portrait format for TikTok with their smartphones).

When Robbie Williams released his first solo album "Life Through a Lens" in 1997, almost 30 years ago, this decision manifested the break with the boy band Take That, with which he had become famous. It was an attempt to free oneself from a golden cage and to emancipate oneself from an expectation that had already inscribed its expiration date. He went all-in, cut the ties to the cow, which could have been milked for years to come, and hoped for an equally golden future. It could also have gone wrong. But the calculation worked. Today, his hits, especially "Angels", are played before, between and after finals at the World Cup and the Champions League. In mainstream pop, this is the greatest accolade an entertainer can earn, the end of the ladder, the place where the air gets thin.

Correcting the past

After the initial success, Robbie Williams lurched for three decades. Although his commercial success remained largely true to him, many of his albums released since then have seemed like second or third infusions of his first smash hits. Swing albums with a big band, Christmas albums and the obligatory recordings with symphony orchestra didn't make it any better – his career began to resemble that of Eros Ramazzotti, who has been chasing his own successes for decades.

So now "Britpop" or the attempt to remind us in the wake of the beer- and nostalgia-filled Oasis reunion that there was once an unsympathetic, yet extremely successful pop trend in the 1990s, which even when it was new at the time, seemed unpleasantly nationalistic, backward-looking and conformist. In fact, Williams' debut at the time was an extremely successful attempt to establish himself as a solo artist in the wake of this wave.

"Britpop" consists of eleven songs and has a running time of 38 minutes. This is the classic length of a vinyl album, when vinyl albums were still the measure of all things, and hints at what Robbie Williams may have been up to here: With between 75 and 100 million records sold behind him, without time pressure and without a real agenda, to briefly correct the past.

So this includes, in a way in a journey through time, to return to the sound of that time and compose a series of songs that could also come from the carefree, hedonistic 1990s in terms of arrangement. The sensation of hearing "Britpop" can be compared to the experience of taking the dusty CD version of a Britpop album from the 1990s out of a moving box, stripping off the dust and playing the record loudly – just like back when the world was still in order.

In fact, Robbie Williams collects more good songs on "Britpop" than on the last dozen albums before, even if it doesn't contain any uber-hits like "Angels" or "Let Me Entertain You". So he shows what he can do, but he also shows (involuntarily?) what he may no longer be able to retrieve – like a former world footballer who can then perform all the tricks and step-overs again in Canada or Saudi Arabia in the autumn of his career because he is no longer really attacked.

Consequently, the whole undertaking has a bizarre, sometimes out-of-the-box lightness, which brings many convincing and quite surprising songs with it due to the quality of the songwriting and production. One example is the wall of sound of the opening song "Rocket", which Williams wrote together with Tony Iommi, the former Black Sabbath guitarist. The power ballad "All My Life" sounds like Oasis with Robbie Williams as singer, but with self-deprecating lyrics that are rather missing from Oasis: "My life is based on a true story, one of love, chaos and audacity". Finally, for the sake of all good things, just three songs as an example, "Morrissey", a synthipop ballad about Morrissey, the forerunner of Britpop when Britpop was still called The Smiths, and whose career recently imploded into controversy, mainstream and nationalism. Robbie Williams actually wrote this song together with Gary Barlow, his comrade-in-arms from the time of Take That, and goes down like butter.

When listening to "Britpop" repeatedly, however, the suspicion increasingly arises that chance after chance to write real pop songs for eternity has been missed. This feeling that makes music "as if" here, with the handbrake slightly on, which sometimes gets in the way of one's own cleverness (or that of his spin doctors), and which is nevertheless one of the best things he has ever achieved – this is the culmination of a feeling that one seems to have always had with Robbie Williams: This darned, this great art, which seems to be within reach right behind the mainstream, simply can't get a grasp.

Robbie Williams surfs the Oasis nostalgia wave with "Britpop"

Edited January 19Jan 19 by Sydney11

I don't get why reviewers are saying Morrisey is Robbie being "sarcastic". We all know RW loves Morrisey. I think he's just trying to understand him and is paying tribute to him.

I see what you mean Alex about the sales.

I hope him Management Team know what they're doing though and don't miscalculate.

If indeed that is what they're doing

I hope to God after six months preview, he can muster more than 15k sales.

It's a brilliant album..it deserves more 🤞

10 hours ago, Laura130262 said:

I don't get why reviewers are saying Morrisey is Robbie being "sarcastic". We all know RW loves Morrisey. I think he's just trying to understand him and is paying tribute to him.

Some folk will believe that anyway Laura & refuse to think otherwise. I have seen lots of favourable comments as well from Morrissey fans who are very happy with the song.

Robbie Williams didn’t need Britpop

The singer’s new album is a tribute to the “golden era of music” – in which he never really belonged

By Kate Mossman

Photo by John Nacion/Getty Images for Paramount Pictures

After leaving Take That in the mid-1990s, Robbie Williams was sucked into the orbit of Britpop. He emerged from a culture free from irony – boybands – and started to flirt with a genre defined by it. His debut solo album, Life Thru a Lens, was released at the height of Cool Britannia, but at a time when the music itself was already on the turn. It always seemed as though he and his songwriter Guy Chambers were uniquely placed to stand outside the movement. “Millennium” – his first number, with its James Bond strings – is a fitting text for sociology students; the only true fin de siècle pop song. While Prince foresaw one big party at the end of his song, 1999, Williams wrote, “When we come, we always come too late / I often think that we were born to hate…”. 

He performed it on Top of the Pops in a crocheted dress. Looking back, it’s nice to think he was ahead of the game, toasting Jarvis Cocker, Damon Albarn and Liam Gallagher on their sinking ship from his own little lifeboat. But his new album, Britpop, is a tribute to this “golden era of music”, he says. Perhaps his songs embodied a painful sense of being left out of the club.

The artwork for Britpop is a vast portrait of Williams in a gallery, wearing an Adidas jacket in 1995, with bleached hair and a missing tooth, as pink paint is thrown at him by a group of Just Stop Oil-style activists – in this case, sporting T-shirts reading “just stop pop.” It is quite YBA. The album bursts forth in three-minute bursts of songs that sound unmistakably like Robbie Williams. Yet there is little of the Britpop we have come to expect.

Ever since “Let Me Entertain You”, Williams, with his velvety flicker of a voice, has made music like a late-1970s glam rocker. While many Britpop bands drew on glam influences, Williams embraces a driving, punky bassline just as much as a plod. I listened to half of the opening throbber, “Rocket” – which features the guitar great Tony Iommi, now 77 – before making a cup of tea, and was already whistling it as the kettle boiled.

“Spies” – about late-1990s paranoia – has a Gallagher-style middle eight, while “All My Life” starts out as a Williams song before morphing into an Oasis one. In both, there is more happening melodically than in the music of Liam and Noel, even if it sometimes leads to curious swerves of style. The rather pompous autobiographical opening of “All My Life” led me to assume it was the track co-written with Gary Barlow; in fact, that song is “Morrissey” (“Come here, let me hold you for the rest of your life!”) – an apparently satirical number that could easily be taken literally by someone not paying close attention.

The main value of “Morrissey” is that it offers a kind of unedited access to Williams’s mind – a man once straitjacketed by the industry who is now settling into his own strangeness. “Human”, featuring the Mexican duo Jesse & Joy, is a dreamlike song about AI – or death – taking the themes of his mega-hit “Angels” into an eerier space: “I like what you’ve done with the place, God / Grandma? Great finishes. Wonderful lighting!” “It’s Okay Until the Drugs Stop Working” initially seems to flash back to The Verve, but sonically it evokes Phil Spector, with a soaring 1960s-style string section and the feel of the West Coast.

All this is to say that most of the songs on Britpop could have been written at any point in the last 50 years, and the title tells us more about Robbie Williams than it does about the music he has made here. What does it mean? Was he a victim of Britpop? Is that the point? In retrospect, he was a maverick solo rockstar in an era when solo rockstars had little place – when bands, and one dominant sound, ruled the waves.

Robbie Williams didn't need Britpop - New Statesman

Out Now: Stream Robbie Williams’ New ‘Britpop’ Album, a Flashback of a Record Featuring Tony Iommi and More

By Adrian Garro | January 19, 2026 |

Robbie Williams 'Britpop' (Photo: Jason Hetherington)

When Robbie Williams set out to work on a new studio album titled Britpop, the global pop superstar made clear that this was going to be a different sort of record. The English singer has long made a name for himself in the pop realm with soaring anthems like “Angels,” putting himself out there as a singular pop star after going solo from the ’90s boy band Take That.

But with Britpop, he embraces the sort of sound he might have explored back in the mid ’90s had he not leaned into the whole pop thing.

The first song shared from the album, “Rocket,” dives headlong into that approach, even featuring Black Sabbath‘s Tony Iommi in an unexpected guitar cameo:

(To be fair, some of Williams’ early work with collaborator/colleague Guy Chambers was rooted in the ’90s Britpop sound, guitars turned up and exhibiting an alternative/rock sensibility.)

“Pretty Face” is among the most direct Britpop attempts, its video a visual flashback to 1995 performance on a TV show that didn’t actually happen, but exists in a sort of parallel universe:

Said Williams in a statement:

This is my “DeLorean Moment” back to 1995 .. The Word was the late-night gateway to so many – Nirvana, Oasis, Happy Mondays…

If BRITPOP is the album I would have made, then THIS would have been the TV show…. now a (virtual) reality.

After a delay in its release presumably so it wouldn’t coincide with Taylor Swift‘s The Life of a Showgirl — so Williams would have a better chance of obtaining his 14th No. 1 record in England — Britpop turned up on digital streaming platforms on Jan. 16, with a Deluxe Edition with bonus tracks surfacing a few days later.

For those who’ve listened to Williams’ music for years, Britpop does offer a bit of a fresh approach on a handful of tracks. There are some big pop swings, of course, with pre-release single “Human” hitting that mark, with other songs such as “It’s OK until the Drugs Stop Working” showcasing some of Williams’ affinity for orchestral flourishes and frank lyrics

“Morrissey,” co-written with Williams’ Take That band mate Gary Barlow, is a synthpop salute named after the enigmatic Smiths front man:

In all, Britpop is an interesting set of songs from Williams, who definitely does venture out of his comfort zone for much of its runtime — all the while finding his characteristic self-deprecation and reflective lyricism on display.

Check it out if you’ve ever found any of his music intriguing.

This new musical era for Williams comes on the heels of the 2024 film Better Man, a quirky biopic of the singer and his cheeky personality.

The film, directed by Michael Gracey (The Greatest Showman), was a critical darling, amassing an 89% positive rating on Rotten Tomatoes. The movie’s innovative concept — Williams is portrayed throughout as a chimpanzee thanks to actor Jonno Davies and some cutting-edge special effects — and slightly offbeat take on the classic “biopic” concept was refreshing.

And while Better Man didn’t quite resonate with audiences at the box office — especially in the United States, where Williams has never quite caught on as a pop star — the film is a great time and is well worth a watch for anyone remotely interested in its concept.

It’s also perhaps even better suited for those who DON’T consider them Robbie Williams fans, because its storytelling and quick wit ought to appeal to anyone.

\https://youtu.be/KVeH5T4wxkE?si=Gkks731mJeYz4V9y

Rock Cellar Magazine - Out Now: Stream Robbie Williams’ New ‘Britpop’ Album, a Flashback of a Record Featuring Tony Iommi and More

The wonderful thing about Robbie Williams is that he has long since ascended to true heights of ‘don’t-give-a-f**kdom’,

Alexander Larman

In defence of Robbie Williams

He has a sort of British genius

• 20 January 2026, 5:01am

• From Spectator Life

(Getty)

I write this piece while listening to an album that I suspect will be widely regarded as one of the best of the year. That it is by Robbie Williams may come as a surprise to many. After all, Williams has often been mocked as a cruise ship entertainer who got lucky, a Butlins redcoat who has somehow become Britain’s most successful solo pop star. If his new album, Britpop, goes to number one in the charts – and he deliberately delayed its release from last autumn so that it could avoid being trampled by Taylor Swift’s The Life of a Showgirl – it will be his sixteenth chart-topper, thereby setting a record that even the Beatles were unable to equal.

The reason for Williams’s continued glory, however, is not some sort of national delusion that has lasted for the best part of three decades. It is because he is one of the finest musicians that this country has ever produced. Finally, he is starting to be recognised as such. While early albums of his such as Life Through a Lens, Let Me Entertain You and Sing When You’re Winning sold millions and millions of copies, they were looked down on as somehow being ephemeral and even naff.

‘Angels’, a ballad that has taken a place in our collective consciousness, has often been sneered at for being obvious, saccharine and basic. To which the only comment is, ‘yes, but it works’. Williams has never been someone who has tried to be at the cutting edge of fashion. (The one time that he attempted this, 2006’s baffling Rudebox, was his first artistic flop.) He is, instead, the anti-David Bowie, someone who is content to offer a single, consistent image throughout his career.

And what an image that is; the cheeky chappie beset by self-doubt, that same Butlins redcoat but playing Hamlet. This allows him to take audacious risks which, more often than not, land. The recent biopic made about the star, Better Man, made the extraordinary decision to depict him as a CGI monkey. It perplexed many, who stayed away from cinemas, and it was a commercial flop in consequence. Those who saw it, however, were struck with admiration for the film’s daring and boldness. Compared to any number of identikit music biopics, it sang with energy, vitality and wit, all of which remained true to its subject.

The wonderful thing about Robbie Williams is that he has long since ascended to true heights of ‘don’t-give-a-f***dom’, in a way that his peers could never manage. So, for instance, his new album includes a song about Morrissey, co-written with his one-time frenemy and Take That bandmate Gary Barlow, told from the perspective of an obsessed stalker. That the song is a perfectly crafted slice of electro-pop that would make the Pet Shop Boys weep with envy is a reflection of Williams’s often-overlooked skill as a great songwriter. That it is hilariously funny (the chorus contains the line ‘Morrissey is talking to me in code’) is a testament to his status as a true original: an oddball in an industry long since homogenised into focus-grouped blandness.

He is one of the finest msicians that this country has ever produced

It has long since become de rigueur for stars to talk about their mental health issues, their anxieties and depression. Williams, of course, got in ahead of the curve by writing a top five single about his own self-loathing as far back as 2003 – ‘Come Undone’ – which remains probably the only stirring, anthemic ballad to contain the lyrics ‘I am scum/And I’m your son’. But that is the joy of Robbie, who once declared to his listeners that he was ‘the only man who made you come’. A combination of the wholly unexpected and the hilariously inappropriate has seen him retain a place in the pop firmament for far longer than any of his peers, and long may it last. He once suggested on a pensive B-side that he would be ‘nobody someday’. On current evidence, that day looks as if it will never come.

Written by

Alexander Larman is an author and the US books editor of The Spectator

Source

In defence of Robbie Williams

Edited January 20Jan 20 by Sydney11

14 hours ago, Sydney11 said:

The wonderful thing about Robbie Williams is that he has long since ascended to true heights of ‘don’t-give-a-f**kdom’,

🤣😂😁😁

Album Review: Robbie Williams, BRITPOP

By Paul Nolan Album Review: Robbie Williams, BRITPOP | Hotpress

Solid if unspectacular effort from pop icon. 7/10

Album cover photography by Julian Broad; painting by Kate Oleska based on the photo by Mick Hutson

Now deep into middle age, Robbie Williams has shown an admirable intent to stretch his creative wings, albeit with mixed results – while he continues to fill stadiums and earned widespread kudos for a surprisingly watchable Netflix documentary, such successes were offset by the mortifying box office failure of the biopic Better Man.

The singer was portrayed in the lead role by an anthropomorphic chimp, a quixotic move which perhaps contributed the film's grosses of just $22.5m, against an eye-watering budget of $110m. With new collection BRITPOP, Williams has stated his ambition to finally make the record he first intended to create in the mid-'90s, when he split from Take That and went solo. In cahoots with songwriting partner Guy Chambers, Williams at that time produced a string of genuine pop classics, including 'Rock DJ', 'Supreme', 'Strong' and 'No Regrets'.

Alas, Williams' output has rarely scaled such peaks since Chambers departed the scene, a parting of ways explored in the Netflix series. BRITPOP opens promisingly with 'Rocket', a thumping punk number built around an uproarious riff from Black Sabbath's Tony Iommi', but the likes of 'Spies', 'Pretty Face' and 'Bite Your Tongue' lack the melodic flair of Williams' most legendary tunes.

Co-written with the singer's ex-Take That bandmate Gary Barlow, the highlight proves 'Morrissey', an infectious electro number that offers a wistful reflection on the titular singer. It also belongs to an unlikely micro-genre of songs about the ex-Smiths frontman, a canon that further includes Electronic's 'Getting Away With It' and Manic Street Preacher's 'Dear Stephen'.

Otherwise, BRITPOP is a straight-down-the-line collection of no-frills pop-rock, a placeholder until Williams resumes his stadium tour – in which environment he continues to be the most exhilarating of pop performers.

Edited January 21Jan 21 by Sydney11

Another review

Source https://www.youtube.com/@dansminialbumreviews

Here's one happy guy 😊. I am really happy for him.

Source Robs Insta

Thanks to JosephStyles

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