Sydney11

gqbZWAtWCYs?si=LlZdGSW8gbFZxPcO Video courtesy The Daily Telegraph

Yes, they were great . Will it happen again :unsure:

All photos courtesy ; https://www.instagram.com/bettermanmovie/ht...3c0dee7&g=5

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Last Days of Disco & Difficult for Weirdos appeared on Reality Killed The Video Star enRNa9TODzk?si=oeAhdTgbHjwNKoD2 Video thanks to Williams25

I was thinking about that recently & what happened to the track. Could well be on the new album.

Great to hear him sing it live, I love that song, such great lyrics & really lovely applause at the end ;)

In the first video Nick Brine talks about working with Rob in secret when he was still in contract with Take That , he also talks about Robbie working during these session with a gut called Owen Morris & that there must be some tapes out there with songs on it from those sessions. Turns out Robbie mentioned Owen Mprris in a video he did 2018 & a song they had written together called Go Now , cool song actually , They also wrote Cheap Love songs together. There is also a picture of Robbie with Noel, Liam & Owen so I guess they hung out together 7e7JAvKX89k?si=6F4ipCn1ff-l-7DY Video courtesy James Hargreaves 1xTnu0v8yM8?si=EI4Uh_D09Jf4yud6 Video courtesy Elisa http://www.oasis-recordinginfo.co.uk/?page_id=702 Photo by Tim Abbot Just a note on the Oasis connection *The credits to the Masterplan album state that Underneath the Sky was recorded in May 1995 at Rockfield Studios, during the sessions for (What’s The Story) Morning Glory? However, no mention is made of the song in any published account of the Morning Glory sessions. Also, a promotional card included with the 7″ vinyl single of Don’t Look Back in Anger describes Underneath the Sky as ‘a brand new track recorded following their US tour in October’. Noel, Liam, and Robbie Williams at Maison Rouge in Sept 95, recording Cum on Feel the Noize Above: Noel, Liam, Robbie Williams, and Owen Morris and company at Maison Rouge in September 1995, working on Oasis’s cover of Slade’s Cum on Feel the Noize. Photo by Tim Abbot. Thanks to Tom S for the scan. In the absence of any more accurate information on the track, I have suggested that it was recorded at Maison Rogue, as many of the earlier B-sides were recorded there. In an interview to promote the Masterplan album Noel Gallagher (1998) recalled that the song was recorded on the same day as their cover of Slade’s Cum on Feel the Noize; Tim Abbot’s (1996) book on Oasis includes a photo of the band in the studio during this session (shown above) but doesn’t mention which studio it is; the caption under the photo says ‘Chris Abbot and Noel spend a night reminiscing about Noddy Holder and Slade – a B-side develops in twenty-four hours. Anyone still standing is drafted in for backing vocals – get your boots on, skinhead.’ As the picture shows Robbie Williams in the studio this raises the possibility that he sings some backing vocals on that track. The control room pictured also resembles the one shown in this picture of Maison Rogue studio 2 on the excellent Philsbook website. http://www.oasis-recordinginfo.co.uk/?page_id=702 R0O__830PvI?si=TgZCAXF5t-KkNOyS Video Oasis

You just to to love their enthusiasm in Chile :heart: @1887297967125639620

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

: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. Es0OlS0Cghw?si=8H6lzjMvi61BDNet 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/

I had forgotten about some of these bonus tracks ( Reality Killed The Video Star album ) GIZ1oNmrDss?si=5N2MPtG62rB9aHr7 Video thanks to Germaine

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‘Boy Swallows Universe’ snaps up six AACTA Industry Awards as ‘Better Man’, ‘Furiosa’ take home five each Netflix series Boy Swallows Universe is well on its way to topping the winners’ list at this year’s AACTA Awards, converting six of its 11 nominations at the Industry Gala at the Gold Coast on Wednesday night. The Queensland-shot adaptation of Trent Dalton’s best-selling novel was recognised for casting, cinematography, direction, editing, production design, and sound to be the only multiple winner in the television categories. The film awards proved to be a two-horse race between George Miller’s Furiosa: A Mad Max Saga and Michael Gracey’s Better Man, which both snared five gongs. The Robbie Williams-inspired drama, which leads the overall film nominations with 16 nods, took home prizes for casting, editing, original score, screenplay, and visual effects, for which it has also secured an Oscar nomination. Miller’s Mad Max prequel won awards for cinematography, costume design, production design, sound, and hair and makeup. Elsewhere, Jack Clark and Jim Weir’s indie drama Birdeater was named Best Indie Film, while Madeleine Hetherton-Miau’s Mozart’s Sister was a multiple winner in the documentary section, awarded Best Original Score and Best Sound. Wednesday’s ceremony at HOTA, hosted by Stephen Curry, precedes the AACTA Awards on Friday evening, to be broadcast on Channel Ten at 7.30pm AEDT that evening. AACTA Award for Best Casting in Film presented by Casting Networks Better Man – Alison Telford, Kate Leonard, Kate Dowd AACTA Award for Best Editing in Film presented by Spectrum Films Better Man – Martin Connor, Lee Smith, Spencer Susser, Jeff Groth, Patrick Correll AACTA Award for Best Original Score in Film Better Man – Batu Sener AACTA Award for Best Screenplay in Film Better Man – Simon Gleeson, Oliver Cole, Michael Gracey AACTA Award for Best Visual Effects or Animation Better Man – Luke Millar, Andy Taylor, Craig Young, Tim Walker – Wētā https://if.com.au/boy-swallows-universe-sna...home-five-each/

Take That, Jeff Goldblum to perform at Baftas 2025 Take That and Jeff Goldblum are set to take to the stage at the upcoming Bafta film awards, with Take That performing their single ’Greatest Day’, which features in Bafta-nominated film Anora. Sean Baker’s Palme d’Or winner Anora has been nominated for seven awards, including best film, director and leading actress for Mikey Madison. Wicked star and member of jazz band the Mildred Snitzer Orchestra Jeff Goldblum will also perform, taking to the piano during the ‘In Memoriam’ segment. Jon M Chu’s Wicked is also nominated in seven categories, among them leading actress for Cynthia Erivo and supporting actress for Ariana Grande. As previously announced, David Tennant, will host the ceremony on Sunday, February 16 at the Southbank Centre’s Royal Festival Hall in London. The ceremony will be broadcast on BBC One and iPlayer in the UK, it will stream on BritBox International in North America, and available on demand on BritBox in the Nordics and Australia. https://www.screendaily.com/news/take-that-...5201572.article

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/

Take That to Perform ‘Anora’ Hit at BAFTA Awards, Jeff Goldblum to Play Piano for In Memoriam British boyband Take That will take to the stage on Sunday, Feb. 16 and perform their number one single "Greatest Day", opener of Sean Baker's 'Anora', BAFTA has confirmed. British boyband Take That will take to the stage on Sunday, Feb. 16 and perform their number one single "Greatest Day", opener of Sean Baker's 'Anora', BAFTA has confirmed. British boyband Take That and Wicked‘s Jeff Goldblum are set to perform live at this year’s BAFTA Film Awards. Take That, comprising of Gary Barlow, Howard Donald and Mark Owen, will take to the stage on Sunday, Feb. 16 and perform their number one single “Greatest Day”, which famously opened Sean Baker’s nominated hit Anora. Goldblum, meanwhile, star of Wicked, will perform on the piano during the In Memoriam section of the ceremony. What audiences might not know about the Hollywood icon is that when not acting, Goldblum has a dedicated following of his jazz band, the Mildred Snitzer Orchestra. Their upcoming album, “Still Blooming,” is scheduled to be released on Apr. 25. Vatican drama Conclave, based on the novel by Robert Harris, leads the way with 12 BAFTA nominations — ahead of Emilia Pérez‘s 11 and The Brutalist‘s nine. It is the most genre-diverse year ever for the BAFTA Film Awards as horror movies Heretic and The Substance, musical (or music-inspired) films such as Wicked and A Complete Unknown, historical epics like Steve McQueen’s Blitz and big-budget action fare like Dune: Part Two and Gladiator II all earned nominations. You can read the full list of nominations for this year’s BAFTA Film Award The 2025 EE BAFTA Film Awards, hosted by David Tennant, will take place on Sunday, Feb. 16, 2025, at the Southbank Centre’s Royal Festival Hall in London. The awards will be broadcast on BBC One and iPlayer in the U.K., and stream on BritBox International in North America. It will be available on demand on BritBox in the Nordics and Australia, and on a number of other broadcasters internationally. https://www.hollywoodreporter.com/movies/mo...ked-1236127601/