Kelly Clarkson has a rather big own show on US TV and what? :)

 

Good cover anyway.

 

 

 

Gosh !, I had forgotten about that song, listening back it's really beautiful :wub:

 

 

 

 

Just some reminding how perfect they both were on this track.

This is my mother Rob's fave track :)

 

This record is 10/10.

Still think it's my favourite Robbie's album - and what even more irony it had been my his 1st ever album I heard. Still remember this evening very very well.

 

 

 

I agree, it is a beautiful album Alex. Glad your Mum is also a fan :)

 

Thanks, yes :)

 

Wow for Coldplay!

 

Coldplay’s Biggest-Ever Concert - Music of the Spheres World Tour, Ahmedabad

World's Biggest Cricket Stadium - Narendra Modi Stadium, Motera (Sardar Vallabhbhai Patel Sports Enclave)

 

Coldplay has broken the record for largest stadium shows of the 21st century with more than 111000 fans at each of its two shows in India.

 

 

Waiting for some collaboration of Chris Martin and Robbie very soon.

Thanks, yes :)

 

Wow for Coldplay!

 

Coldplay’s Biggest-Ever Concert - Music of the Spheres World Tour, Ahmedabad

World's Biggest Cricket Stadium - Narendra Modi Stadium, Motera (Sardar Vallabhbhai Patel Sports Enclave)

 

Coldplay has broken the record for largest stadium shows of the 21st century with more than 111000 fans at each of its two shows in India.

 

 

Waiting for some collaboration of Chris Martin and Robbie very soon.

 

 

Yes hopefully. I came across this video where Ed Sheeran talks about Rob & indeed Chris Martin. I think in the background they are all supportive of one another . Chris Martin always comes across as a very nice guy .

 

https://www.facebook.com/reel/1523508778494954

 

 

I came across this from MAY 2020 live from their homes due to Covid , they sound amazingly good actually & of course Robbie had to be late , he arrives at 11.02 in the video :lol:

 

 

Video thanks to Fernando10R

Oh these covid time... Coronaoke and all these new songs. Not bad performance by guys too :)

 

Better video quality just arrived:

 

I came across this from MAY 2020 live from their homes due to Covid , they sound amazingly good actually & of course Robbie had to be late , he arrives at 11.02 in the video :lol:

Video thanks to Fernando10R

 

They do sound amazing together!

 

Never seen that before

Not bad!

 

 

Not bad too ))

 

 

:wub:

 

@1885586853052768612

Here's my Guru -_-

 

SIN SIN SIN ... Released 22 May 2006

 

https://robbiewilliams.com/pages/timeline/e...-intensive-care

 

Released as the fourth and final single from Intensive Care, Sin Sin Sin was another win win win for Robbie's videmaking partnership with director Vaughan Arnell, who shot Robbie as the prophet-like guru of a cult of adoring pregnant women.

 

 

 

Video thanks to JoannaDarc

 

 

 

 

 

 

 

 

Songfacts

 

According to Robbie Williams, this song is written from the perspective of "a seedy old bloke." It appears to depict a one-night stand, with Williams acknowledging it's a sinful act, but desiring the casual sex regardless: "Don't let your eyes tell the brain you should feel ashamed. Everyone needs it, baby, and I feel the same."

 

This was the first song Williams wrote with Stephen Duffy after splitting with his former collaborator, Guy Chambers. Chambers helped Williams write some of his biggest hits, including "Angels," "Let Me Entertain You," and "Feel," but the pair fell out during the making of Escapology. Williams subsequently started writing with Duffy, who was a former member of both Duran Duran and The Lilac Time. Duffy later said of "Sin Sin Sin": "As soon as we'd completed this track, I thought we might just have a future together." British author Chris Heath, who spent two years working with Williams on his biography Feel, is also credited as a songwriter on the track.

 

The single version of "Sin Sin Sin" has a different production than the album original. The instrumentation is more upbeat on the single version, with the additional drums lending the song a poppier sound fit for radio.

 

Directed by Vaughan Arnell, the music video for "Sin Sin Sin" was shot in Cape Town, South Africa a few days before Williams was due to begin his tour there. The video sees Williams transforming into the leader of a pagan cult, with the British singer doted on by a following of pregnant women.

"Sin Sin Sin" was the final single released from Williams' sixth album Intensive Care, after "Tripping"/"Make Me Pure" and "Advertising Space." It was the first Robbie Williams single that didn't place in the UK Top 20, peaking at #22.

 

 

https://www.songfacts.com/facts/robbie-williams/sin-sin-sin

 

 

Edited February 3Feb 3 by Sydney11

Sin x3 is a great song! :)

 

--

 

When I was a pupil I didn't like Song 3, I'd say it was one of very few (3-4 songs) I didn't like from his back catalog and this song (+two others) was a reason why I never named Escapology album as his best.

 

But working on songs' stories I always find some interesting points around them.

Well, and even Song 3 has some interesting moments... For example, I would like to know why this song has been rejected from US version of Escapology?

But I'm still not a big fan of this song :)

 

And you?

 

Maybe this 2020 review of Escapology will help Alex , talks about the American market etc ...

 

 

Is Robbie Williams my guilty pleasure? No, because I feel no guilt admitting that he has a special place in my heart.

Escapology is in similar territory - a proud fixture of my childhood. Am I biased? Yes. Don't think that I don't recognise this. Have I rated this too highly? I truly can't say. I'll bring it down a few ratings, and then change it back frequently after a re-listen, or sometimes minutes later after thinking about it again.

 

This was the fourth full-length studio album in a prolific streak in Robbie's discography (fifth if you include his swing music covers album,) and it was his golden era. I also include in this phase that covers album, and maybe his fifth album, Intensive Care (It was good but nowhere near the first four) - he could do no wrong with his albums, apart from in America.

 

He's now the biggest selling non-Latin solo act in South America, conquered Europe and enjoys success in Australia and New Zealand, but he never really dented the US charts.

 

And that's what this album was. A full on assault to finally take the US market by storm. A swift departure from Sing When You're Winning's disco-pop that produced his biggest club hits with Kids and Rock DJ, Williams returned to the rock influences of his first two albums, but cranks it up a few notches.

 

Did the charm offensive work? You tell me, largely American website. However, the intention of this album makes it that much more desirable to me - it is the final gambit of a record company that sank £80 million pounds into a lad from Stoke who loved the dope.

 

Even in today's money that is a ridiculous amount - it was record breaking in 2002. It is still only $25 million below the current holder, Lil Wayne ($150m v $125m.) It would only pay off if he finally captured the hearts of America.

 

So the pressure is on, you're already on your way to become a legend in Britain, you're the biggest pop-star in the world - apart from America. Europe, Britain, South America will love it. It'll go no.1, and then some. Now that the scene has been set, let's get into the album.

 

Now, I can only talk about my experience of the UK track listing, which places the bizarre How Peculiar first. Thank god they changed this for the American release - the opening track is one of Robbie's greatest, the emotional Feel.

 

This isn't a superstar singing, this is that lad from Stoke. It reveals his actual true desire - not America, but a wife. Now a Stadium anthem, it came second in the UK listing, making a stark contrast from How Peculiar. The least rock-heavy song on the album, this track was rightly placed on both releases. Overall this song outgrew its album in the same way Angels outgrew Life Thru a Lens - it still gets significant radio play in the UK.

 

How Peculiar still stands out to me, purely for its complete departure from Robbie's previous music. It is a Hail Mary - outlandish and definitely designed to grab your attention, the heavy usage of the vocoder on his voice throughout, mixed with off-the-wall lyrics makes this just an overall interesting listen. I've never heard it live, which is a shame because I wonder how he would convert it.

 

Something Beautiful is a soppy tune which shared a lot of lyrical content with Feel, except that Robbie switches perspective, with the listener becoming the unlucky one in love. Definitely tongue-in-cheek (get used to that with Robbie) and a jab at the people around him giving advice about his love life, which Robbie now passes on, it is a pop song, with Robbie showing a decent range. A safe song, if you will.

 

Monsoon is when the rock comes back. Track 4 in the UK, Track 3 in the US. Again I can tell why - this is a song with that American market in mind. And even if the US didn't love it, it works very well. Another that has become a stadium staple, Monsoon again laments Robbie's failings in love, and also in life, speaking of his regrets, but also making excuses.

 

I wasn't me when we met / You haven't lost my respect / I'm here to serve and protect/ What shape of insanity /Keeps leading you back to me

 

Robbie was at this point, the archetype of the Bad Boy British popstar that shed his youthful charms as a backup singer in Take That, to the cheeky chap that fancied a scrap with anyone, no matter their size. But America doesn't know that - and I don't think Robbie cares. He has an ego the size of California, he isn't going to pretend to get his foot in the door.

 

Sexed Up follows, and the pace slows down again. This song details one of those loveless relationships Robbie has had, and he goes for the powerful, booming bridges and chorus that let his passable voice sort of shine. Robbie can sing, but he isn't winning any awards for his ability in that department. A smart single choice, sultry and sexy but with the air of a man who could get any woman he wanted.

 

Love Somebody, unsurprisingly, comes back to finding the one, and is a short almost operatic piece that gets to the action quickly. Powerful, and probably made more so by the shortness of the track.

 

Revolution is probably my least favourite track on the album. It slows the pace down even further after Love Somebody and Sexed Up, but overall it again showcases that Robbie can sing, over a slow and sort-of soul, easy beat. Surprise surprise, this was a last minute addition by Robbie (who was given more creative control on arguably his biggest project) who loved it so much he didn't want to wait to put it on another album. Some one should have told him to hold his horses tbh. I can see it fitting on Intensive Care a lot better, but not really.

 

Leave it to Handsome Man to bring it back on track. This is Robbie, lyrically, at his most egotistical. For someone who has the public image of a f*cking big-headed c*nt, he plays up to it - before revealing :

 

It's not very complicated/ I'm just young and overrated

 

Totally in character, and a decent song.

 

Come Undone is the highpoint the album needs after it went on its detour to multiple genres. Pop-rock heavy, it starts off slow before opening up - musically and lyrically. The washed out electric guitar and bass, the prominent slow kicks, this is probably the best display of production on the album.

 

When we get to the chorus, Robbie lets out:

 

Because I'm scum / And I'm your son / I come undone

 

The song centres on his public image, cocaine use, and the monotony of being a hit-making machine. Oh Robbie.

 

Me and My Monkey is too long. A childhood favourite, Robbie wrote this whilst on holiday, trying to chat up a fellow guest at a hotel. Write me a song about a monkey, she says, and we'll see what happens. Robbie accepts the challenge, and makes this literal ballad about him and an imaginary monkey hitting it large in Las Vegas, full of monkey pimps and prostitutes, a Mexican stand-off with accompanying mariachi band, and a general sense of a fever dream.

 

"How did I get mixed up with this f*cking monkey anyhow?" Robbie remarks at the end. F*cked if I know mate, but somehow you made it bearable. Another track I would have dropped if I was trying to convince America to buy my album, because it is just bizarre.

 

The next three songs don't end up on the US album, and that is such a travesty. Song 3 (named because Song 2 conquered America for fellow Britpop act Blur) and Cursed are the most rock forward songs on this entire album! What the f*ck were they playing at? They are decent pop-rock tunes, with direct references to the US - why would you not put them on the album?

 

Sandwiched between the two is my favourite song of all time. I'll admit it. It's nowhere near perfect, but I just love it unconditionally. Hot Fudge is the perfect mix of Robbie's ego, showmanship and desire to break the US. Piano heavy with such a catchy tune, probably the opening lyrics of "Queen Bitch, eat the rich" put studio execs off straight away.

 

A bridge about going to where the "sunshine flows" and a chorus about getting a green card, this would have been perfect for an assault on the US charts. High energy, it always gets me moving.

 

The album dwindles down with Robbie opening up again on his first solo written track, Nan's song. Soft and gentle, I personally think it fits where it is on the track listing - a calming end to a record so chaotic.

 

The production on this album is great - the tiny, crisp details of the latin being spoken during the instrumental on Feel, for example. The rock riffs from the guitars never dominate a track either, everything seems to be levelled well.

 

Closing thoughts - RCM are f*cking idiots, but ultimately I can't complain. This album has this confusing aura around it (the addition of One Fine Day and a reprise of How Peculiar are the worst ideas on the US version) and frankly, Robbie feeds off it. His first three albums were relatively amazing - but were well-polished, event-free and about Robbie establishing his solo career. Robbie is now in a spot where he needs to grasp America - according to his executives, and whilst he failed them, he stayed true to himself.

 

I've just realised I've written the longest review of mine, for what- like five people to read? No one is searching for this album. Oh well. I thought I'd explain why I find this album so enthralling, and my favourite Robbie album. Please give it a listen, maybe we can finally break the US for Robbie!

 

https://www.albumoftheyear.org/user/jayarte...446-escapology/

Edited February 5Feb 5 by Sydney11

I came across these interesting album reviews from back in the day ( ranging from 1997 - 2009 ) . Some 'very' passionate opinions :P

 

ALBUM REVIEWS - ROBBIE WILLIAMS

 

https://www.adriandenning.co.uk/robbiewilliams.html

 

 

Maybe this 2020 review of Escapology will help Alex , talks about the American market etc ...

 

 

Is Robbie Williams my guilty pleasure? No, because I feel no guilt admitting that he has a special place in my heart.

Escapology is in similar territory - a proud fixture of my childhood. Am I biased? Yes. Don't think that I don't recognise this. Have I rated this too highly? I truly can't say. I'll bring it down a few ratings, and then change it back frequently after a re-listen, or sometimes minutes later after thinking about it again.

 

This was the fourth full-length studio album in a prolific streak in Robbie's discography (fifth if you include his swing music covers album,) and it was his golden era. I also include in this phase that covers album, and maybe his fifth album, Intensive Care (It was good but nowhere near the first four) - he could do no wrong with his albums, apart from in America.

 

He's now the biggest selling non-Latin solo act in South America, conquered Europe and enjoys success in Australia and New Zealand, but he never really dented the US charts.

 

And that's what this album was. A full on assault to finally take the US market by storm. A swift departure from Sing When You're Winning's disco-pop that produced his biggest club hits with Kids and Rock DJ, Williams returned to the rock influences of his first two albums, but cranks it up a few notches.

 

Did the charm offensive work? You tell me, largely American website. However, the intention of this album makes it that much more desirable to me - it is the final gambit of a record company that sank £80 million pounds into a lad from Stoke who loved the dope.

 

Even in today's money that is a ridiculous amount - it was record breaking in 2002. It is still only $25 million below the current holder, Lil Wayne ($150m v $125m.) It would only pay off if he finally captured the hearts of America.

 

So the pressure is on, you're already on your way to become a legend in Britain, you're the biggest pop-star in the world - apart from America. Europe, Britain, South America will love it. It'll go no.1, and then some. Now that the scene has been set, let's get into the album.

 

Now, I can only talk about my experience of the UK track listing, which places the bizarre How Peculiar first. Thank god they changed this for the American release - the opening track is one of Robbie's greatest, the emotional Feel.

 

This isn't a superstar singing, this is that lad from Stoke. It reveals his actual true desire - not America, but a wife. Now a Stadium anthem, it came second in the UK listing, making a stark contrast from How Peculiar. The least rock-heavy song on the album, this track was rightly placed on both releases. Overall this song outgrew its album in the same way Angels outgrew Life Thru a Lens - it still gets significant radio play in the UK.

 

How Peculiar still stands out to me, purely for its complete departure from Robbie's previous music. It is a Hail Mary - outlandish and definitely designed to grab your attention, the heavy usage of the vocoder on his voice throughout, mixed with off-the-wall lyrics makes this just an overall interesting listen. I've never heard it live, which is a shame because I wonder how he would convert it.

 

Something Beautiful is a soppy tune which shared a lot of lyrical content with Feel, except that Robbie switches perspective, with the listener becoming the unlucky one in love. Definitely tongue-in-cheek (get used to that with Robbie) and a jab at the people around him giving advice about his love life, which Robbie now passes on, it is a pop song, with Robbie showing a decent range. A safe song, if you will.

 

Monsoon is when the rock comes back. Track 4 in the UK, Track 3 in the US. Again I can tell why - this is a song with that American market in mind. And even if the US didn't love it, it works very well. Another that has become a stadium staple, Monsoon again laments Robbie's failings in love, and also in life, speaking of his regrets, but also making excuses.

 

I wasn't me when we met / You haven't lost my respect / I'm here to serve and protect/ What shape of insanity /Keeps leading you back to me

 

Robbie was at this point, the archetype of the Bad Boy British popstar that shed his youthful charms as a backup singer in Take That, to the cheeky chap that fancied a scrap with anyone, no matter their size. But America doesn't know that - and I don't think Robbie cares. He has an ego the size of California, he isn't going to pretend to get his foot in the door.

 

Sexed Up follows, and the pace slows down again. This song details one of those loveless relationships Robbie has had, and he goes for the powerful, booming bridges and chorus that let his passable voice sort of shine. Robbie can sing, but he isn't winning any awards for his ability in that department. A smart single choice, sultry and sexy but with the air of a man who could get any woman he wanted.

 

Love Somebody, unsurprisingly, comes back to finding the one, and is a short almost operatic piece that gets to the action quickly. Powerful, and probably made more so by the shortness of the track.

 

Revolution is probably my least favourite track on the album. It slows the pace down even further after Love Somebody and Sexed Up, but overall it again showcases that Robbie can sing, over a slow and sort-of soul, easy beat. Surprise surprise, this was a last minute addition by Robbie (who was given more creative control on arguably his biggest project) who loved it so much he didn't want to wait to put it on another album. Some one should have told him to hold his horses tbh. I can see it fitting on Intensive Care a lot better, but not really.

 

Leave it to Handsome Man to bring it back on track. This is Robbie, lyrically, at his most egotistical. For someone who has the public image of a f*cking big-headed c*nt, he plays up to it - before revealing :

 

It's not very complicated/ I'm just young and overrated

 

Totally in character, and a decent song.

 

Come Undone is the highpoint the album needs after it went on its detour to multiple genres. Pop-rock heavy, it starts off slow before opening up - musically and lyrically. The washed out electric guitar and bass, the prominent slow kicks, this is probably the best display of production on the album.

 

When we get to the chorus, Robbie lets out:

 

Because I'm scum / And I'm your son / I come undone

 

The song centres on his public image, cocaine use, and the monotony of being a hit-making machine. Oh Robbie.

 

Me and My Monkey is too long. A childhood favourite, Robbie wrote this whilst on holiday, trying to chat up a fellow guest at a hotel. Write me a song about a monkey, she says, and we'll see what happens. Robbie accepts the challenge, and makes this literal ballad about him and an imaginary monkey hitting it large in Las Vegas, full of monkey pimps and prostitutes, a Mexican stand-off with accompanying mariachi band, and a general sense of a fever dream.

 

"How did I get mixed up with this f*cking monkey anyhow?" Robbie remarks at the end. F*cked if I know mate, but somehow you made it bearable. Another track I would have dropped if I was trying to convince America to buy my album, because it is just bizarre.

 

The next three songs don't end up on the US album, and that is such a travesty. Song 3 (named because Song 2 conquered America for fellow Britpop act Blur) and Cursed are the most rock forward songs on this entire album! What the f*ck were they playing at? They are decent pop-rock tunes, with direct references to the US - why would you not put them on the album?

 

Sandwiched between the two is my favourite song of all time. I'll admit it. It's nowhere near perfect, but I just love it unconditionally. Hot Fudge is the perfect mix of Robbie's ego, showmanship and desire to break the US. Piano heavy with such a catchy tune, probably the opening lyrics of "Queen Bitch, eat the rich" put studio execs off straight away.

 

A bridge about going to where the "sunshine flows" and a chorus about getting a green card, this would have been perfect for an assault on the US charts. High energy, it always gets me moving.

 

The album dwindles down with Robbie opening up again on his first solo written track, Nan's song. Soft and gentle, I personally think it fits where it is on the track listing - a calming end to a record so chaotic.

 

The production on this album is great - the tiny, crisp details of the latin being spoken during the instrumental on Feel, for example. The rock riffs from the guitars never dominate a track either, everything seems to be levelled well.

 

Closing thoughts - RCM are f*cking idiots, but ultimately I can't complain. This album has this confusing aura around it (the addition of One Fine Day and a reprise of How Peculiar are the worst ideas on the US version) and frankly, Robbie feeds off it. His first three albums were relatively amazing - but were well-polished, event-free and about Robbie establishing his solo career. Robbie is now in a spot where he needs to grasp America - according to his executives, and whilst he failed them, he stayed true to himself.

 

I've just realised I've written the longest review of mine, for what- like five people to read? No one is searching for this album. Oh well. I thought I'd explain why I find this album so enthralling, and my favourite Robbie album. Please give it a listen, maybe we can finally break the US for Robbie!

 

https://www.albumoftheyear.org/user/jayarte...446-escapology/

 

What an interesting read - love this reviewers honesty

Listening to Arizona today :)

Listening to Arizona today :)

 

 

I had forgotten about some of these bonus tracks ( Reality Killed The Video Star album )

 

 

Video thanks to Germaine

 

 

 

 

 

:music: :music: :music:

 

 

VIDEO KILLED THE RADIO STAR

 

From Reality Killed the Video Star is the eighth studio album by English singer-songwriter Robbie Williams. It was released on 9 November 2009.

 

Video thanks to Gilberto Flores

 

 

"Video Killed the Radio Star" is a song written by Trevor Horn, Geoff Downes and Bruce Woolley in 1979. It was recorded concurrently by Bruce Woolley and the Camera Club (with Thomas Dolby on keyboards) for their album English Garden and by British new wave/synth-pop group the Buggles, which consisted of Horn and Downes (and initially Woolley).

 

The Buggles' version of the track was recorded and mixed in 1979, released as their debut single on 7 September 1979 by Island Records, and included on their first album The Age of Plastic.

 

The song relates to concerns about, and mixed attitudes toward 20th-century inventions and machines for the media arts. The song has been positively received, with reviewers praising its unusual musical pop elements.

 

On release, the Buggles single topped sixteen international music charts, including those in the UK, Australia, and Japan. It also peaked in the top 10 in Canada, Germany, New Zealand and South Africa, but only reached number 40 in the US. The accompanying music video was written, directed, and edited by Russell Mulcahy. It was the first music video shown on MTV in the US, airing at 12:01 a.m. on 1 August 1981, and the first video shown on MTV Classic in the UK on 1 March 2010. The song has received several critical accolades, such as being ranked number 40 on VH1's "100 Greatest One-Hit Wonders of the '80s".[2]

 

The song has also been covered by many recording artists including Robbie Williams

 

 

Source Wiki https://en.wikipedia.org/wiki/Video_Killed_the_Radio_Star

 

 

Robbie Williams opened this year's BBC Electric Proms. He was accompanied by a string section, horn section and full band. The show featured new material from Robbie's new album 'Reality Killed the Video Star' alongside some classic tracks, under the musical direction of Trevor Horn.

 

The first single from the album - Bodies - is classic Robbie, a mash-up of a grinding electro bass line with a gospel choir and heavenly strings, as the singer casts an eye over modern life.

 

The album title itself is a nod to Trevor Horn's eighties smash hit as Buggles and Robbie is delighted to work with the legendary producer. "He's added something to the record that I haven't had on previous records - his genius," says Robbie. I just think it sounds big - track after track after track."

 

Similarly, Robbie's career to date is simply astounding: 15 Brit awards, eight No. 1 albums, and his Close Encounters tour set a world record selling 1.6 million tickets in a single day. His three nights at Knebworth were one of the biggest live music events in UK history when he entertained over 365,000 fans.

 

This was a flamboyant return from Robbie Williams, a total entertainer, playing a unique and intimate show.

 

https://www.bbc.co.uk/electricproms/2009/ar...robbiewilliams/

 

Edited February 6Feb 6 by Sydney11

I actually like the album Reality Killed The Video Star very much, some great songs on there with the exception of Morning Sun -_-

Last Days of Disco & Difficult for Weirdos appeared on Reality Killed The Video Star

 

 

 

Video thanks to Williams25

Edited February 7Feb 7 by Sydney11