As I am :wub: His voice and the production both sound perfect. The melodies are brilliant, esp Morning Sun. Some of the lyrics from the short clips are great as well, and Last Days Of Disco sounds really good with this newer clip. Starstuck is too George Michael for my likeing. It sounds like a mix betweeen Lovelight, Fastlove and In & Out of Love. I am suprised You Know Me is the second single. It sounds promising (the clip on the OS sounds better), but I think Morning Sun or Wont Do That both sound better. Morning Sun would be perfect for an Xmas single :wub:

 

Funny that Blasphemy, the Guy Chambers co-written track, the one I was most looking forward too is one of the least impressive from the clips - reviews seem to share this opinion. Shame really they didnt do a classic Rob/Guy Pop/Rock anthem instead.

oh wow, the songs sound different again :lol: I'm loving what I hear so far :heart:

 

Starstruck really does sound like George Michael doesn't it, I like it

 

:dance: Ready steady go

everybody famous

everyone you know

I've been listening to the new clips on I-Tunes

 

 

I still like Starstruck and Last Days of Disco. And Arizona sounds interesting too. :unsure:

MSN Entertainment ...with thanks to RWO.com

 

Robbie Williams: Album Review

 

Reality Killed The Video Star

 

It has been one of the most eagerly awaited album releases of the year. Yes, ladies and gentlemen, Robbie Williams is back. Is his latest musical venture on top form, reminiscent of his spectacular 90s success, or will it be another album to throw in the bin like the experimental (and not in a good way) Rudebox?

 

Tom Townshend has listened to the new album, entitled Reality Killed The Video Star, and shares his thoughts on each track.

 

1. Morning Sun

The problem one faces when reviewing an album with this much ‘hoo-ha' attached to it, is to be able to step back and review the songs – not the accompanying fuss. But for an album that's so crucially make or break for one of Europe's biggest pop stars, it sounds surprisingly low key. Morning Sun starts out pretty, with a muted harmonica and swelling strings, but all too quickly heads into standard early-period Robbie soft-pomp-rock, with meretricious lyrics dripping with Williams' trademark disillusion. It's not bad, it's just… is this it?

Best Robicism: "How many stars would you give to the moon?"

 

2. Bodies

We can't pretend Bodies has got any less disappointing since we first mistook it for the new Ian Brown single. What it most sounds like is someone from the past trying to make a modern record, without having any of the right equipment. Producer Trevor Horn's heyday was the 1980s and sounding ‘now' is not his strong point. But similarly, Robbie belongs to the 90s and a track like Bodies, with its overworked samples and beats, sticks out as awkwardly as a man wearing flares at a Cribs gig. However, the gospel and Bond-brass coda is great and over too soon.

Best Robicism: "I got laid on a ley line."

 

3. You Know Me

Hang on, the stereo's broken. Oh no, it was just a clever lo-fi intro. Things are looking up with You Know Me; coming on like 70s glam rockers Mud (in a good way). By which we mean it's consciously cod-50s doo wop, meets authentically ego-driven singer-songwriter piano rock. Bowie and Elton could've concocted this in a late night session. This is the most comfortable melding of lyrics, melody and performance we've heard from Robbie in many years. There's a lovely instrumental bridge too. Let's have a round of applause to whoever wrote the bridge. Underrated things, bridges.

 

4. Blasphemy

The awkward start out of the way, Blasphemy sounds calmly and confidently Robbie-esque. The one-liners come thick and fast, though we're struggling to figure out what "blasphemy" actually means in this context (other than a not-as-clever-as-he-thinks-it-is play on words). Another song sung with surprising restraint as Williams has a long hard stare into the abyss.

Best Robicism: "What's so great about the great depression?"

 

5. Do You Mind?

Uh oh, sound the ‘session musician rock' alarm! Politely overdriven guitars and an ironically loud cowbell introduce Robbie singing in a very peculiar voice (something akin to Vic Reeves doing the Rolling Stones in a ‘club style'). We wonder if this is Rob toying with a Ziggy Stardust-like alter-ego? Frustratingly, there's a good track underneath all the unpleasantness. If only he'd gone back and recorded the song ‘straight'. It still amazes us that no one points out to pop stars of Robbie's stature that real rock bands don't sound this clean and clinical. He still doesn't know how to write middle-eights either, instead opting for a go-nowhere breakdown section. We reach for the skip button.

Best Robicism: "Bring some wine and some Sensodyne."

 

6. Last Days of Disco

The electropop of the Rudebox album rears its head (but not unwelcomely) on Last Days of Disco, which we'd liken to a subdued Pet Shop Boys (subdued being very much the theme of the album). While it's quite lovely, it doesn't feel remotely prepared for the 21st century, which it should since pop music needs to have one foot in the future (as well as the past) if it's to survive longer than the year in which it's released. After a weird and not entirely welcome Prince-type breakdown, the track bursts into life with a Europop flourish. We could've done with that at the start.

Best Robicism: "We'll hold an event in here, this space is beautiful."

 

7. Somewhere

Not the song from West Side Story, although the orchestral intro might suggest otherwise. Somewhere sounds like The Feeling trying to do The Beatles – in a bad way. At least it did. But now it's over, after one minute and one second. Was this meant as a musical interlude or could Robbie just not be bothered to finish it? Perhaps he was about to write a chorus and then Come Dine With Me came on the telly, and it was the celebrity one where Michelle Heaton has diarrhoea and Peter Stringfellow's sink collapses, so obviously that took all his attention and by the time he came back to the song he just couldn't remember how it was meant to go. It happens to the best of us.

Best Robicism: "Don't get stuck in the state I'm in."

 

8. Deceptacon

This is pure, brilliant, classic Robbie. A plodding piano and some gentle acoustic strums suggest we're about to get Angels part two, but it's more sophisticated than everyone's favourite wedding/funeral tearjerker, and about aliens. Possibly. Again, we're not actually sure what it's about. The Urban Dictionary tells us a Deceptacon is either an evil Transformer or a woman who appears attractive but turns out to be ugly. This being Robbie, we imagine it's the latter. Producer Trevor Horn earns his money, creating a close relative to Frankie Goes To Hollywood's luscious Power of Love. It's kind of lovely.

Best Robicism: "All over Britain we wait for permission to form another queue."

 

9. Starstruck

Confirming that we're definitely in the superior second half of the album, Starstruck is a Fast Love-era George Michael-esque smooth, spacey, disco groove of a tune. That's not to say it's anything more than an ‘album track' but it's a nice one, all the same. Is ‘nice' the best thing we can say about a record that was no doubt slaved over with blood, sweat and a fairly hefty therapy bill? While it may sound like faint praise, it's such a relief to hear Robbie not trying too hard to impress and simply getting on with the job of making a decent album. Hooray, Robbie Williams has made a nice record! Tell all your friends.

Best Robicism: "I guess the odds are very good but the goods are very odd."

 

10. Difficult for Weirdos

The title rings alarm bells for us. The fact that the multi-millionaire, handsome and popular Robbie is aligning himself with weirdos must be deeply troubling for anyone mooching around in black; friendless at a school they hate. Robbie may have had his ‘troubles' but Gerard Way he ain't. That he would deem to sing about boys in eyeliner in small towns will stick in the throat of anyone who lives that life. It would be like Will Young admitting he's always had an emo element to his music. Plausibility aside, this is another nice, nostalgically futuristic, Pet Shop Boys-esque electro-disco track. There's that word again: nice.

Best Robicism: "He is a lesbian but that's OK."

 

11. Superblind

We can't help thinking most of these titles existed before the songs did. That said, Superblind is the second best song on an album that definitely improves with repeated listens (especially late night listens). Lyrically this sounds like the winning speech in the self-loathing Olympics as Williams whispers: "Baby, I'm much sicker than you". Musically it's a precise mix of the new subtle Rob and the big Millennium-style, everything but the studio sink sound of old. This is almost good enough to be on the last Take That album!

Best Robicism: "You're like a new wave old romantic."

 

12. Won't Do That & 13. Morning Sun (Reprise)

And just when we're getting ready to sharpen our pen again, we're forced to admit that Won't Do That is actually brilliant. What a surprise – an almost-sincere love song that manages to be witty without being smug (or resorting to nonsense couplets). We're reminded of some of The Beautiful South's best relationship songs but with a completely authentic 70s soft rock sheen to the production that again reminds us of The Feeling, but in a (very) good way. Sadly it ends all too soon. Why is he only over-indulgent on the bad ones?

Best Robicism: "You would never be the trouble and strife if I made you my Swiss Army wife."

 

 

The album closes with a somewhat unnecessary repeat of the intro and chorus of the opening track, so we'll use this space to conclude that what we have here is half a really good album. And that might strike some people as odd, given the amount expectation surrounding Reality Killed The Video Star. For a record with so much to prove, it's remarkably reserved. But that's to its credit. It doesn't try to entertain, which may prove problematic at gigs (and it's worryingly low on potential hit singles), but this record goes some way to healing the broken relationship the public and Robbie Williams have had over the last few years. So while we might've expected Robbie to stride confidently back into the limelight, what we get is an album of tentative baby steps. But they are, at least, steps in the right direction. ;)

Edited October 15, 200915 yr by staralliance

Oh :nocheer:

Why Oh !!! I think overall the review is pretty fair....not ott but not getting the sh*t kicked out of him either like last time....

 

I like what I hear about some of these tracks .....

 

I liked this one straight off & like the review...

 

8. Deceptacon

This is pure, brilliant, classic Robbie. A plodding piano and some gentle acoustic strums suggest we're about to get Angels part two, but it's more sophisticated than everyone's favourite wedding/funeral tearjerker, and about aliens. Possibly. Again, we're not actually sure what it's about. The Urban Dictionary tells us a Deceptacon is either an evil Transformer or a woman who appears attractive but turns out to be ugly. This being Robbie, we imagine it's the latter. Producer Trevor Horn earns his money, creating a close relative to Frankie Goes To Hollywood's luscious Power of Love. It's kind of lovely.

Best Robicism: "All over Britain we wait for permission to form another queue."

 

I also like thses....

 

11. Superblind

We can't help thinking most of these titles existed before the songs did. That said, Superblind is the second best song on an album that definitely improves with repeated listens (especially late night listens). Lyrically this sounds like the winning speech in the self-loathing Olympics as Williams whispers: "Baby, I'm much sicker than you". Musically it's a precise mix of the new subtle Rob and the big Millennium-style, everything but the studio sink sound of old. This is almost good enough to be on the last Take That album!

Best Robicism: "You're like a new wave old romantic."

 

12. Won't Do That & 13. Morning Sun (Reprise)

And just when we're getting ready to sharpen our pen again, we're forced to admit that Won't Do That is actually brilliant. What a surprise – an almost-sincere love song that manages to be witty without being smug (or resorting to nonsense couplets). We're reminded of some of The Beautiful South's best relationship songs but with a completely authentic 70s soft rock sheen to the production that again reminds us of The Feeling, but in a (very) good way. Sadly it ends all too soon. Why is he only over-indulgent on the bad ones?

Best Robicism: "You would never be the trouble and strife if I made you my Swiss Army wife."

 

3. You Know Me

Hang on, the stereo's broken. Oh no, it was just a clever lo-fi intro. Things are looking up with You Know Me; coming on like 70s glam rockers Mud (in a good way). By which we mean it's consciously cod-50s doo wop, meets authentically ego-driven singer-songwriter piano rock. Bowie and Elton could've concocted this in a late night session. This is the most comfortable melding of lyrics, melody and performance we've heard from Robbie in many years. There's a lovely instrumental bridge too. Let's have a round of applause to whoever wrote the bridge. Underrated things, bridges

Edited October 15, 200915 yr by staralliance

'This is almost good enough to be on the last Take That album!'

 

 

:nocheer: :nocheer: :nocheer: :nocheer: :nocheer: :nocheer: :nocheer: :blink: :blink: :blink:

'This is almost good enough to be on the last Take That album!'

:nocheer: :nocheer: :nocheer: :nocheer: :nocheer: :nocheer: :nocheer: :blink: :blink: :blink:

 

 

Means little to somebody who does not own a TT album......

 

Hey they do their own thing ....right now is Robbie time.... ;)

Speaking of 'last time', Rudebox actually got great press reviews. Far better than any of his earlier albums.

 

Not really sure why it then went 'tits up'. Selective memory/amnesia by most of the press I think. :wacko:

Speaking of 'last time', Rudebox actually got great press reviews. Far better than any of his earlier albums.

 

Not really sure why it then went 'tits up'. Selective memory/amnesia by most of the press I think. :wacko:

 

Agreed...but it was far too advanced for the ordinary Joe Soap ...those who 'got it' I guess were not normal......like us :lol:

 

This album seems more in tune with what the normal Robbie fan wants to listen to..... <_<

I'm pretty certain none of us on here are 'normal' :D

I assume he was talking the p*** with the TT comment. :lol:

 

And MSN are not known for their reviews so I dont hold it highly but it was a nice read nonetheless. Suprised he said that about Morning Sun. I love it from the clip :wub:

 

And yeah, someone should let him know Rudebox got amazing reviews from proper music mags and broadsheets, far better than TT or most pop acts. Even the snobs hailed it as a great album. It was mainly the tabloids who gave it bad reviews, and they hire people with limited skills as a journalist nevermind as a music journalist. :lol:

 

 

 

 

Thanks to RWO ;)

Nice video. New drummer? But, I liked previous. :(

Nice video. New drummer? But, I liked previous. :(

 

Previous ( as in Chris ) is resting right now after his Worldwide escapades with The Gallagher Bros !!! :P

Previous ( as in Chris ) is resting right now after his Worldwide escapades with The Gallagher Bros !!! :P

 

I know... I know... I didn't know, until I saw him playing with them on concert. I was very surprised!

I downloaded that podcast on I-tunes. The video froze after about 10 seconds and made this strange very loud WAH WAH WAH WAH noise. Then my whole PC froze too and I had to reboot. I didn't risk it again. -_-

More clips from the album in the link below

 

http://www.bbc.co.uk/music/reviews/92q4

 

BBC Review

 

The Ego has landed, again, but he’s a lot more endearing this time around.

 

 

Reality Killed the Video Star marks Robbie Williams’ overdue return to the pop world, exuding a coolness and consistency absent on 2006’s Rudebox. It finds him working alongside producer Trevor Horn, whose catalogue of hits is substantial enough to turn even a sometime egocentric like Williams green with envy. And the pairing largely works well, with Reality… featuring a wealth of strong, single-worthy tracks.

 

The first song to be released as a single, Bodies, isn’t the most immediate number on this 13-track affair, but acts as a valuable bridge between the swagger-and-strut front of Rudebox and the introverted, understated highlights to be found here. A strange brew of string flourishes, rumbling low end, oriental undertones and even an Enigma-style break into Gregorian territory, Bodies is superb on radio, sitting between so many sound-alike offerings, but seems a little bloated here. Nevertheless, it’s very much that wonderful cliché: a return to form.

 

Last Days of Disco is a track that clicks on the very first listen – reminiscent of Eurhythmics and featuring the inevitable line “don’t call it a comeback”, it’s a far better tribute to the synth sounds of the 1980s than anything from the hot-right-now La Roux. This is partly down to Horn’s involvement – he produced much of his best-loved fare during the decade, and worked with the similarly styled Pet Shop Boys in 2006 – but Williams’ half-whispered vocals suit the icy beats superbly. It’s not as recognisably Robbie as Bodies, but there’s no doubt it’s a far superior song.

 

Deceptacon – unlikely to ever be confused with the Le Tigre song of the same name given its slow-motion build and luscious orchestral peak – Blasphemy and Superblind are skilfully arranged tracks which find Williams in his comfort zone vocally, the music around him instead given license to soar. And it’s this balance between the star of the show and the necessary material he’s at the centre of that makes Reality… his finest album since I’ve Been Expecting You. It’s got its share of hits in waiting, but the flow of the record is excellent when heard as a whole.It’s not without its faults – Williams’ lyricism still leaves much to be desired, especially on Won’t Do That – but Reality… is a record its makers can be very proud of indeed. The ego has landed, again, but he’s a lot more endearing this time around.

 

 

Thanks to Daz ( TRWS )

Edited October 19, 200915 yr by staralliance

..

Edited October 20, 200915 yr by staralliance

Another great review. I am dying to hear the tracks tonight. It is going to be very weird to hear songs for the first time ever live :lol:

 

It's going to be brilliant :D