nirvanamusic

https://www.msn.com/en-us/entertainment/new...rvertelemetry=1 Gary penned song debuts at number 1 in 70 countries.

100% agree. I can't imagine a Five 'Bye Bye Bye' or 'Baby One More Time' due to the expert performance and fit of the artists who released them. It is also well known that Cheiron (Max Martin etc) preferred to give their best songs to the Americans: Britney, Backstreet, NSYNC. Five and Westlife usually had the pick of the rest. Take That and East 17 made them unique as they were built around song writers. What would Five have been like with Russell Brand in the group though? True bad boys.. Also Ryan Gosling almost became a Backstreet Boy and Colin Farrell a member of Boyzone! Speaking of which, they were glossed over. Yes compared to Take That, East 17, Five and Oasis they were safe, some might say boring, but they were bigger than nearly all of the other boybands excluding Take That, Westlife, and One Direction. The three highest selling boybands ever in the UK. Perhaps they are saving their story for their Sky documentary. '94 - '96 Boyzone were third in line, possibly second, behind Take That and East 17. They claimed the crown when Take That split, East 17 imploded and Backstreet Boys were flown in but were never truly huge in Britain, consistent but not huge. I'm glad East 17 were included but unlike the commercial and cultural battle in America between Backstreet Boys and NSYNC, driving both to huge record sales in the US; East 17 weren't on the same level as Take That, in this country at least. The performance shown of 'Stay Another Day' at the Smash Hits Poll Winners Party 1994 was fantastic. It was interesting when Brian from Westlife said Simon Cowell can make you the biggest act in the world but with no artist development. That is basically the biggest crux, along with the cover versions, a lot of people have with Westlife. Good to see a member state they were as frustrated as the public with this. Totally different to his approach with Five who he completely let off the leash, bringing their own influences into the sound and image.

The documentary is great. Gary got a hammering but as we know their relationship is solid now. I do think A1 or Another Level would have been good additions though. It was interesting to see the boybands change with the times and culture. Perhaps that is why we had the boybands Busted and McFly during the '00s pop-punk and 'Indie landfill' era. Didn't realise some of the managers were as young as the groups, Five, Blue etc. I do feel this documentary is better than the US one released earlier this week: Larger Than Life: Reign of the Boybands. Namely as it is more raw and honest, features the managers and has more humour and personalities. The US documentary was also quite self congratulatory of the bands profiled, an eye on their image, commercialism and brand. Not much learnt other than their individual breakthrough successes in America. From my perspective Damage just weren't as good as the US acts at that time who did have more UK success than them. 911 am still not convinced but a fantastic inspiring story of success without a major label and overcoming personal adversity. The BBC would be better off airing the third episode the next day (Sunday) to keep up the momentum as opposed to next Saturday.

I wonder if Boyzone aren't involved due to their own Sky documentary. Take That also have a documentary currently being made by Netflix.

An American version released a few days ago called 'Larger Than Life: Reign of the boybands' is on Paramount+. It features Donny Osmond, New Edition, New Kids on the Block, Backstreet Boys, Hanson, 98 Degrees and NSYNC, though has recieved mixed to negative reviews. The main problem from the reviews is that it is quite light, pure promotional piece and doesn't go deeper and jumps around from eras, no distinct narrative. This documentary tells the entire history of boybands, who were popular in America -The Beatles (...not convinced they were a boyband) to One Direction/BTS, as opposed to a specific era. It has also been produced by MTV. It is implied that it went New Kids until their US drop off in 1992 (5 year draught) to Hanson/Backstreet Boys in 1997. However, this isn't true as Color Me Badd, Boyz II Men and All-4-One were huge during that period in America, frequent chart toppers. Plus Take That also had a US Top 10 pop single in 1995. Yes rap and grunge were huge during this time, but so were these vocal harmony groups. Backstreet Boys segment talks about going to Europe and there being Boyzone, Westlife, 3T, East 17 and Take That being the biggest group. Nothing truly new and none are brutally honest about anything which could be seen as damaging to their brand. For these reasons I think that the British/Irish documentary will be more revealing, and plus let's be honest the American boybands were incredibly boring and serious/pretentious which never helps. Although Backstreet Boys said they liked Take That, East 17, Five, Westlife and Blue, I remember how dismissive themselves and NSYNC were in British interviews about other boyband groups from Europe: ''They would never make it in the States.'' ''We're not going to name names but there are a lot of poor groups currently out here who are huge who we don't want to be associated with. We are a vocal harmony group, not a boyband.'' What they fail to mention is the fact the British and Irish actually wrote their own songs or co-wrote, and created their own sounds. Not just Max Martin doing all the heavy work. Being succesful in America doesn't mean you are the best of the best. Like anything in the music industry a lot of it is timing, luck and serendipitous. The Billboard Top 40 has always been the most notoriously slow, stagnant and least diverse in cultures/genres than any other in the world. The only motivation is wealth and fame.

Mika. I read an interesting article about his popularity in Britain and how it was during the financial recession (his first album) in which he was huge. But then his popularity tailored off after the recovery. Basically referring to him being good for that time but only as a one trick.

I think this will be great. I like the fact East 17 are featured. Although I have to say I don't remember 911 or Damage at all. Is it just me? Were they big? I don't remember them ever being mentioned by girls or any of their songs. As the documentary is focussing on Irish and UK boybands of the '90s - early '00s. The other ones I remember from that period, which don't appear to feature, are Let Loose --Crazy For You, though not sure they were a boyband--Boyzone, A1, Another Level, Point Break and MN8 --I've Got a Little Something For You--. https://www.rollingstone.co.uk/music/news/w...-forever-44679/ My absolute favourite is Take That. Their popularity, songs, creative tours, and influence was insane. Both in the '90s and post reunion. Just look at the bedlam of when Robbie left and their split. What an impact and legacy. Runner up: Though I also strongly liked NSYNC's music and bought an album --No String's Attached, one of my favourite pop albums-- and a few singles they released before and after that album --Tearin' Up My Heart and Pop--. They were never big in Britain though and I only knew one other person who liked them in school and had their album also. Liked at points: East 17, Let Loose --that one song-- Boyzone, Backstreet Boys, Another Level, Blue, A1, Five, Point Break. JLS being probably the last one. One Direction's songs, for the most part, were far too juvenile for me and The Wanted seemed like a half-committed lesser version of East 17 and Five. Who were both the realist, if not best.

Wasn't everyone though? Bit random but okay.

A lot of BTS younger audience in Asia are streaming Take That after this announcement, mainly Back For Good, Patience and Rule The World. Also, a lot of older Asian fans are commenting in replies explaining how big TT were in the '90s there.

The song is featured throughout the Palme d'Or winning American film twice during key scenes and is finding a new audience from film goers. The use of the song has been praised within the context of the movie. The film is wildly tipped to sweep the Academy Awards nominations and is a front runner for Best Picture. The American director and his wife were aware of Take That through their 1995 US top 10 hit, Back For Good, but not any of their post-reunion material, initially. It seems Robbie and Take That are potentially going to have a fantastic year at the movies. A big year for Americans possibly rediscovering Take That and Robbie. https://variety.com/2024/film/global/anora-...ene-1236175108/

https://www.billboard.com/music/pop/bts-jin...ppy-1235802582/ The song 'Running Wild' is listed as ''main track'' so perhaps a single?

Shine is a great thumping track which Mark delivers on. I can't imagine the others singing it. It was also key following the reunion single in determining how their reunion was going to be viewed by the general public. You could have a novelty comeback hit but not two in a row. As a result it helped the album return to number one. It stands out against their classic ballads and is in the Relight My Fire bracket of classic setlist shifters. Hold Up a Light is indeed a fan favourite and written to formula with that in mind. It is not a particular favourite of mine but it is fine. Regarding Mark's lead songs I prefer Shine, Babe, and The Day After Tomorrow. I can see and hear how much Hold Up a Light excels within a live setting though. Thank you for doing the countdown, it has been great.

Patience is the ultimate comeback song and went all around the world for them. I didn't know they were releasing new music so when I first heard the song in a shop I thought it was fantastic. Went home and investigated and was shocked to find it was Take That. It is everything you want in a reunion track: different, epic and classic. They delivered.

I really like The Garden. However, only the full album version, not the terribly butchered single version and dreadful pointless music video. The song is so grand I feel the music video was a wasted opportunity, it could have had a fantastic wide scope lush video to match. I really like the tone of this one, the vocals from all of them here are fantastic, alongside the build of the track. My favourite alongside Said It All from this album. It is interesting which songs they believe work better for overseas markets instead of the UK. As far as Beautiful World and The Circus singles are concerned I much preferred the European releases. The opening piano refrain and instrumentals from throughout the song were often used as background music on the X Factor and they performed the song on Comic Relief night which caused it to chart --lowly-- on downloads alone.

Rule The World is fantastic and a firm favourite of mine. The main review is spot on and alongside The Flood missing out it was a shame this didn't hit number one. Interestingly I looked at Bleeding Love's UK sales and both songs are on the same certification and similiar sales. I also like the fact this is their highest selling song as it confirms the fact they have had two standout careers. Their legacy isn't just confirmed to a time and a place like so many other pop acts. The main thing is that Rule The World sold well and is still remembered. Their performance of the song at the extinguising of the Olympic Flame in London, 2012, was also fantastic and marked the last performance with Jason. Shown all around the world and an apt and fitting song to close a successful Olympics. It did make me laugh though when people on social media said they should run back out again singing Relight My Fire as an encore! The song was submitted for consideration at the 80th Academy Awards for Best Original Song, but was not nominated. I wish they had a team that knew how to push for Academy nominations as I believe it deserved to have been nominated that year. Enchanted didn't need 3/5 nominations, and none won! I hope Robbie's team are ready to push for his original song (provided it's of quality) from Better Man. If I ranked Take That's soundtrack efforts I would say: 1.Rule The World. 2.Get Ready For It. 3.Love Love. 4.Greatest Day (2023 rework). 5.When We Were Young.

I like the comical music video for Happy Now. However, enjoyable as it is, I felt it was a weaker track on Progress. Though I agree the chorus is great, I just preferred other album tracks from Progress more. Eight Letters, SOS, Pretty Things, Underground Machine and Flowerbed namely.

Never Forget is my favourite alongside Pray and Back For Good. Though one man deserves all the plaudits for this one: Jim Steinman, Meat Loaf's collaborator. His influence is all over this song and made it stratospheric, iconic and epic. He gave it the drama, idiosyncratic nature, multitude of musical styles and quirks to make it last long in the memory. I love the fanfare which starts the track -- pop royalty! I'm unaware of any other song which starts as such -- explosion sound, choir, hand claps, sounding like it's finishing only to rewind for another final chorus and so many other elements of the song. The album version was dire, in my opinion. Every member of Take That got a line in this one, though as stated Howard really shone delivering lead vocals on this one. His deeper voice really suits the boombastic nature of the song. Gary had a knack for pairing the right song with the right member and writing/creating to their strengths. If only Jason could have had a lead vocal number one hit also and completed the entire set. This should have been thier initial swansong. It simply couldn't be topped. Eerie to think it was written prior to Robbie leaving and then released as he did. It is almost prophetic. As mentioned in main review, years ago I was surprised to see so many comments from school leavers about the song in the music video comments. However, this is fantastic and such a great message to take away and through life. The King's Coronation performance of this was also a highlight.

Back For Good is when everything came together: vocals, video, harmonies, songwriting, image, and the payoff of having travelled the world for two years prior promoting themselves. Remember back then you had to be physically seen to promote, out of sight out of mind, unlike todays world of social media. Much harder, longer to sync the world together and physically demanding. One Direction never left their sofa and became the biggest band in the world before a record even came out through online networking. Back For Good was the most succesful pop single worldwide of 1995, number 1 in 31 nations and top 10 in all others, and the third overall behind Gangsta's Paradise by Coolio --13 weeks World Chart #1-- and Boombastic, Shaggy. It is their only single to have topped the World Chart, doing so for three weeks. It is also my joint favourite alongside Pray and another still to feature. It remains the highest point of both their own and Robbie's solo career, and won't be matched by either now. The fact it went Top 10 in America at that time shows how strong the song is. Not because Americans have superior tastes and standards --they don't-- but because it happened in a non pop friendly time dominated by grunge, alternative rock, gangsta rap, dance, New Jack Swing, R & B and hip hop. Their was also a major backlash towards pop acts caused by New Kids on the Block's popularity and Milli Vanilli's lip syncing. The only pop artists charting well then were pre-established older acts such as Madonna, Michael Jackson, Elton John etc, not new pop artists. That would come later in 1997 with Hanson, Spice Girls and Backstreet Boys. I believe Take That going Top 10 in America was incremental positive change which allowed the start of the late 90s pop explosion, and is often overlooked. People remember those who burst through the door, but not those who initially cracked it open. For example, US boyband 98 Degrees debut single's music video in 1997. Look familiar? Black and white, classic car, running to shelter, thick coats, rain. Lead singer Nick Lachey stated Take That were a blueprint and he even covered Patience for a US release. Backstreet Boys and NSYNC were also constantly informed about Take That being the main pop boyband worldwide and watched numerous videos of their songs and tours whilst they were still in development during Take That's popularity. Both have cited Take That as an inspiration --the only non US vocal harmony group mentioned-- and a favourite group of theirs alongside New Kids on the Block, Shai, and Boyz II Men. New Kids have said they are fans of Take That, referencing this music video in one of their recent songs, and as we know Boyz II Men worked with the group on Odyssey and covered Back For Good. Back For Good is a song which simply can't be ignored or denied.

These Days indeed has a fantastic chorus, and aside from their early days and threat of being dropped, posed their most significant post reunion release. Their fate rested on this song. No pressure then. I am hit and miss with the song itself but more than glad it hit number 1, though don't believe this was purely just a fan push. The song appeared across numerous playlists and wedding receptions at the time of release. I doubt it would have gone Platinum otherwise. I'll be honest the optics of the three of them didn't seem right to me for a long time. As you have mentioned it is very different going 5-4-3 and I never really got used to it until This Life, maybe it was just time needed. Though that said I would prefer the full 5 line up or 4 still were the options presented. I think it was a good idea they carried on and they have produced some great music as a trio. I think waiting 6 years though between their last studio albums was a long time in popular music, even more so for an older act. My favourite songs from this period were Get Ready For It and Higher Than Higher. Get Ready For It had a tie in music video with the Kingsman film but should have had a full committed release in my opinion.

Completely agree with the review. I like the music video and the riotous nature of Kidz. The crescendo and build towards the end is fantastic. It was daring and like the album reaped the rewards for being so. It is a shame they didn't perform this on the X Factor Final at Simon Cowell's request due to the actual riots happening at the time. They instead performed The Flood again. The performance at the BRIT Awards was memorable and am sure it will be featured in best of performance reviews in years to come. Just like their Beatles tribute in the '90s was. Again in contrast to other former boybands, Take That have gotten to a place where they are confident in addressing more broader topics, themes and styles of music. Kidz seems like the perfect blend of rabble rouser solo star Robbie and the growth of Take That merged perfectly. I am glad it went Silver as it means the song wasn't lost but has slowly grown over time. I can see non pop or Take That fans liking this one.

Up All Night isn't a favourite for me and haven't thought about it since it was released. This one falls into the category of songs with another style and sound I'm pleased they created, in contrast to other boybands who stick to a style, sound and formula, but don't become personal favourites for me. Said It All, the full length version of The Garden, Here, and Greatest Day were preferred from The Circus album. Whilst I like The Circus, front to back, it isn't an album I return to. Beautiful World and Progress, however, I still think are fantastic. Everything Changes and Nobody Else are my return albums from the '90s period.

I have liked (in release order): Child, Four Minute Warning, Alone Without You, Stars and Magic.

The main success of The Flood is that it delivers. Normally due to the high expectations of an audience and other factors around reunion records, nine times out of ten, they become under-whelming and a disappointment. The Flood on the other hand is a modern day pop classic. Arguably their last true pop standard classic. It was their delivery here which helped sustain the reunion excitement and propel them to --at the time-- the second highest first week sales of an album ever in the UK. I'm just glad they didn't go with the name ''The English'' as was muted at one point before this release to seperate Take That's history from the Progress era. In my Top 10 for sure.

Love, Love Love, it is fantastic sonically --grimy and edgier-- and the vocals also. The Progress(ed) album was a great change in sound and style for them. The song really stands out in their canon of work, memorable chorus, interesting lyrics and the song overall hits its marks. I agree, shame it missed out on a Top 10 placing. Very futuristic.

Pray is iconic: song, video and dance routine. It was also their first worldwide hit, on every continent. I remember the song Pray vividly, though had never seen the music video at the time. The songwriting, aside from A Million Love Songs prior, was also very strong here winning Gary a Ivor Novello for song and songwriter of the year. The bridge in particular is a real standout, ''surely we must be in sight of the dream we long to live...'' etc. Gary creating stronger visuals, messages, backed by better production, and memorable vocal harmonies. Which all still sound great today. Howard ranked it within their top 5 songs from the '90s and it is definitely a classic. For me it is the joy and euphoria, it defined the summer of 1993, and started their international superstars phase. I also loved their performance of this on 'Take That: Live in Berlin'. I also love the behind the scenes video they put out today of the music video. Pray is my joint favourite alongside two other songs yet to feature.