Lorells

But didn't Paul already appear on American Idol and let the contestants to sing Beatles' songs? How is this time any different? Oh and Go Robbie :cheer: (even though it is the damn X Factor <_< )

This is from the new release schedule in the chart forum: 14th Dec Metro Station – Kelsey Robbie Williams – You Know Me Sean Paul – Hold My Hand Taken By Trees – Anna X Factor Winner – tba It's too stupid for words, EMI aren't actually going to release it against the x factor winner's song? I don't expect it to go to #1 , but they seem to be trying their very best to find the hardest competition imaginable :rolleyes: On a positive note, I really love the song :wub:

They mostly play remixes and not the tracks themselves. so I don't think it's a big boost. However, Lovelight is the most popular track from Rudebox in the US iTunes, but it isn't on any iTunes charts. Anyway, even without big sales Lovelight must be seen as a hot track right now to get significant airplay from DJs.

Well a significant amount probably went to his management (they probably get around 30%), and then another huge amount to pay his income taxes. I don't know much about the UK tax laws, but it's possible that he pays taxes in the UK and the US. Oh and the inclusion of the Becks is funny: surely it's mostly his money and he has nothing to do with the music industry.

And the rich list is already out, Robbie's at 28 with 105 mil: Britain's top 50 music millionaires Friday, 25 April 2008 As part of its annual Sunday Times Rich List, The Sunday Times has produced a top 50 chart of Britain's wealthiest music millionaires (in addition to the Young Music Millionaire's list) which includes performers, producers and record company owners. The list sees Sir Paul McCartney valued at £500m despite the fact that reports from his recent divorce hearing said he was worth £400m. Guy Hands, who bought EMI for £2.4bn, is the top new entry in the list with £250m and seventh place. Chris Blackwell, the London-born founder of Island Records, is another new entry with £100m. 1 Clive Calder £1,300m 2 Lord Lloyd-Webber £750m 3 Sir Paul McCartney £500m 4= Simon Fuller £450m 4= Sir Cameron Mackintosh £450m 6 Madonna and Guy Ritchie £300m 7 Guy and Julia Hands £250m 8 Sir Elton John £235m 9 Sir Mick Jagger £225m 10 Robert Stigwood £212m 11 Sting £200m 12 Keith Richards £190m 13 Sir Tom Jones £170m 14= Olivia and Dhani Harrison £160m 14= Jamie Palumbo £160m 16 Sir Tim Rice £155m 17= Eric Clapton £140m 17= Phil Collins £140m 17= Ringo Starr £140m 20 David and Victoria Beckham £125m 21= Robert Bourne and Sally Green £120m 21= David Bowie £120m 21= Barry and Robin Gibb £120m 21= Rod Stewart £120m 25 Simon Cowell £112m 26= Roger Ames £110m 26= Ozzy and Sharon Osbourne £110m 28 Robbie Williams £105m 29= Chris Blackwell £100m 29=Charlie Watts £100m 31= George Michael £95m 31= Roger Waters £95m 33 David Gilmour £85m 34= Moya Doherty and John McGolgan £80m 34= Robert Plant £80m 36 Engelbert Humperdinck £79m 37= Brian May £75m 37= Jimmy Page £75m 39= Mark Knopfler £70m 39= Roger Taylor £70m 39= Chris Wright £70m 42 John Deacon £65m 43 Judy Craymer £58m 44= Nick Mason £55m 44= Van Morrison £55m 46 Sir Cliff Richard £50m 47= Noel and Liam Gallagher £45m 47= Bernie Taupin £45m 47= Prince Rupert Loewenstein £45m 50 Mick Hucknall £42m Taken from The Sunday Times Rich List http://www.independent.co.uk/arts-entertai...res-815251.html

It's based on danceplay from the playlists of nightclub DJs

I've always been confussed about who actually wrote Chemical Devotion because if I remember this corectly there was some talk back in 2002 that it could have been on Escapology, meaning it was written before the Duffy era. Anyway, I just checked on the official site and they have Robbie and some guy named N. Lashley as the writers of the track, so I guess it's not a Duffy track after all. Also, it seems that Do Me Now wasn't written by Duffy either, it a Robbie, B. Ottestad, and B. Morisson track. He should write with all of those people again, both amazing songs :heart:

PopMatters finally posted their review for Rudebox: Robbie Williams Rudebox (Chrysalis/EMI) US release date: Available as import UK release date: 26 October 2006 Internet release date: 2007 by Michael Lomas It’s a bit of a strange experience writing about Robbie Williams’ seventh album, Rudebox now, some four months after it was released to deafening howls of critical derision and public indifference. It seems like anyone that has even a passing interest in Britain’s Greatest Entertainerâ„¢ has already made their mind up about the record, and duly written it off as a disastrous experiment in garish electro-pop and awkward, unconvincing hip-hop. Indeed, so overwhelming was the negative noise that greeted the album, it has obscured the fact that Rudebox, far from an epic failure, is by an absolute country mile, the best thing Robbie Williams has done since he sauced up Lulu on Take That’s “Relight My Fireâ€. That is not to say it’s a great album –- it’s at least five tracks too long, and some of the musical ideas Williams gleefully pilfers come across as nothing more that half-baked tributes to superior originals. However, listening to Rudebox, you get the impression that for the first time in his career, Robbie actually gives a $h!t about the music he’s making. Previously Robbie Williams’ music has been the least interesting thing about him. That might sound a little harsh when you consider that, with former writing partner Guy Chambers, the man is responsible for at least a dozen Britpoppy anthems that have found their way into peoples hearts in a way most singers could only dream of. Just try stopping someone in the street between the age of 20 and 40 anywhere in Britain and asking them the words to “Angelsâ€â€”you could bet your life they would swoon and croon the whole thing through. No, he may have had the hits, but the fascination with Robbie has always been the conflict of the man driven to take to the stage, play the clown, and entertain us at all costs, who outside of the spotlight has cut the figure of a desperately sad bloke, addicted to the all of the things that make any sort of normal life impossible for him. Certainly musically, Robbie has never come even close to making a consistently decent album. His last two records in particular were packed full of the strangely anonymous session musician MOR rock that always seemed custom built to crack America, and always failed miserably. Rudebox on the other hand, desperately patchy though it is, at least has a vigour and life to it that goes some way to doing justice to Williams’ larger-than-life personality. Certainly, you suspect that the electro-pop and glaring rude-boy hip-hop (think MC Hammer rather than Public Enemy) to be found on Rudebox is far closer to the music Williams grew up with, and actually listens to, than the turgid FM rock of his previous albums—and even when he’s spending too much time clowning around, spinning tacky raps about the special Olympics and spaceships—at least he sounds like himself. The title track and first single is probably the curveball that killed the albums commercial prospects stone dead—and even now, removed of its shock value, it’s a bloody odd song. A re-jigged cover of a Sly and Robbie track, it’s built around the kind of bleeping, ‘80s gameboy synths that would probably be praised as cutting edge if they came from an American artist rather than a class clown from Stoke on Trent. And perhaps I’m just easily amused but the lyrics—dumb, crass and nonsensical though they are—are actually pretty funny. His affected, jokey street slang and references to TK Max sound like the babblings of someone who has stopped giving a toss about any notions of musical credibility and is revelling in the absurdities of throwaway pop music at its most ridiculous. Trawling through the rest of Rudebox, you’ll come across gonzo country ("Viva Life on Mars"), brooding, slightly demented synth pop ("The Actor") and swinging narcotic rap funk ("Good Doctor"). It’s the musical equivalent of Attention Deficit Disorder but crucially, Robbie Williams isn’t really an artist who has to make a coherent, steady album—he’s a born entertainer, a fantastic pop star making mostly brilliant, fun pop music. “We’re the Pet Shop Boys†is a cover of a My Robot Friend song featuring the actual Pet Shop Boys on vocals, and as a kitsch ‘80s tribute, somewhat bizarrely, it works. “Lovelight†also, may be another cover but it is still a brilliantly produced (by Mark Ronson) neon-lit ballad that recalls Prince at his most throwaway, surely never a bad thing. Even the reworking of the Human League, “Louise†is a surprisingly understated and heartfelt croon made more affecting by the fact it never once threatens to drift into widescreen epic ballad territory. What lifts Rudebox above just being a funny, deliriously schizophrenic pop album though is the presence of two remarkable songs, “The 80’s†and “The 90’sâ€. Such is the shadow they cast over just about everything else Robbie Williams has ever done, it’s almost embarrassing. Inseparable in the running order, it’s impossible not to imagine these barbed, bruised and tender poems to misspent youth not being celebrated were they written by anybody else other than the eternally uncool Williams. “The 80’s†is flecked with the earliest memories of teenage years spent drinking Newcy Brown and fumbling around with girls down the park, that would strike a chord with anyone even vaguely familiar with an English working class upbringing. Better still is the “The 90’s†with its picture of a lost kid, shot to immense fame who’s now “running away from everything that I’ve ever been… pissed and f***ed and only 19â€. Maybe after all this time, beneath all the smirking and winking and empty whinging, Robbie’s had something to say after all… who’d have thought it. Given the critical reaction to Rudebox already, there isn’t much point in dwelling dwell on the songs here that don’t work -– “Bongo Bong and Je Ne T’aime Plus†which is so badly conceived and executed that even Lily Allen’s presence can’t save it. Likewise closing couple of tracks “Summertime†and “Dickhead†are best forgotten, the latter being a f***ing insane, pissed up rap that should never have made available for public consumption in a million years (to be honest I could only manage to sit through to about two minutes of it but it wasn’t pretty). Despite these misfirings, Rudebox is an astounding, brave release from one of the worlds most high profile pop stars. It has already alienated much of his Heat reading fanbase and the folks that only buy two albums a year from Tesco will for the first time not be tempted by a Robbie Williams album. No record company in their right mind will surely allow a star of Robbie Williams’ stature and size to deliver something like Rudebox for a very long time. Which is a shame, because the record displays an edge and a wicked sense of fun sorely missing from most mainstream pop. Whether it’s a one off or not, with Rudebox, Robbie Williams seems to have lost a sizable portion of his audience in return for finding his musical voice. Rudebox is a flawed, stupid, incoherent mess of an album, but like the very best pop music, it isn’t half fun. 7/10

It appears that Robbie made it to Entertainment Weekly's popwatch blog, they actually interviewed him last night: A quick two-step with Robbie Williams at 'Dancing With the Stars' Mar 27, 2007, 11:40 AM | by Shirley Halperin Categories: 'Dancing With the Stars', Music, Reality TV Wondering what freshly rehabbed Robbie Williams was doing sitting in the audience for Dancing with the Stars last night? So were we, and because we just happened to be there, taking in all the frilly and fluorescent glory of no fewer than 11 competing couples, we went straight to the source to find out. EW: What brings you out tonight, Robbie? Robbie Williams: Well, I've met Joey [Fatone] quite a few times before. He's a really lovely guy. And I love rubbish television. So he and I were out in the same place last week [Hollywood hotspot Les Deux], and I thought I'd combine my liking Joey with my liking c**p television by visiting both of the same time. EW: Any idea what the reaction has been in England to Heather Mills being on the show? RW: I honestly don't know. I've been living here for the last few years. EW: But the show is popular in the UK, right? RW: I know it was massive three years ago, and today, it was exciting as well. I wouldn't mind checking out American Idol myself. EW: Did you ever have a chance to work with Simon Cowell? RW: No, but I've met him a few times and I like him. Simon was quoted as saying, "Britney Spears and Robbie Williams just need to get their s--- together and go spend a few weeks with their mothers." He's usually right about things, he's probably right about that. EW: How are you doing post-rehab? RW: It's going really good. I got the train back on the track. I've been sober since February 13. Almost two months and look at me, I'm brand spanking new again! EW: You're not releasing your latest album, Let's Swing Again, in the US. Why? RW: I decided about four albums ago that I like living here. I get to be Batman by day. I've gotten to the point where I'm famous enough to enjoy my celebrity and do fun stuff without all the c**p that goes with it. And it would be insane to invite what I have in the rest of the world into this country, so I'm not gonna bother promoting or releasing records here. EW: So it was a life decision that didn't really have to do with your career? RW: Absolutely, and I don't regret it. It's worth noting that, some three hours later, Robbie was back at Les Deux again for the Tudors premiere party. There, he was spotted in deep conversation with Lindsay Lohan, perhaps offering his own post-rehab tips? And a few more things we learned at Dancing with the Stars last night: Always the supportive boy-bandmate, Justin Timberlake postponed the start of his concert last Monday night so that he could watch Joey Fatone perform on the kick-off show. Country star Billy Ray Cyrus has lost 11 pounds since the competition started. Eighteen-year-old newcomer Julianne Hough, who's partnered up with champion speed skater Apolo Anton Ohno, is also an aspiring singer and managed by Irving Azoff (Christina Aguilera, Nick Lachey). She's currently working on her debut album.

Well this wasn't a RW v TT thing but Robbie was just on our national TV. I was flipping through channels and had a shock of my life seeing Robbie and that Oli guy sitting in the first row of Dancing with the Stars audiece, applauding Paul McCartney's ex. No idea why he was in the audience but it seems like recently he's been trying to increase his profile on this side of Alantic, so maybe things are about to happen? :huh: Probably not, but a girl can dream :lol: Seriously though, why the hell would he go to a show like Dancing with the Stars? :wacko:

Really? That episode was how i found out that Robbie did a cover version of "I normally.... :dance:

It is Robbie's version, the song is also featured on Friends soundtrack :yahoo:

Review from popjustice: Notes on 'She's Madonna' Monday, 05 March 2007 » It's actually out today. » That's right - it hasn't been out for weeks, been, gone, hit the bargain bin and been deleted. This is actually the week of release! » It is probably the least-bothered-about Robbie single in history, despite being one of his six best songs ever. » What would have been good is if Robbie had done this with the Pet Shop Boys at the Brits and THEN disappeared on a revolving stage to be replaced by The Killers to perform their 'Read My Mind' remix with the Pet Shop Boys, and if THEN The Killers had swivelled out of view to be replaced by Madonna to do her Pet Shop Boys remix of 'Sorry'. That would have been literally quite good. » Showing that he is prepared to bury the hatchet, Robbie has ended his feud with Victoria Newton by featuring her on the single sleeve. » It's one of the songs from the album which shows that it was actually a really brilliant LP, not just a collection of end-to-end 'do the Rudebox' nonsense. Centuries from now, pop historians will look back on 'Rudebox' as the most completely stupid first single choice in the history of popular song. » The Kris Menace remix is almost really really amazing but the beat drops out too frequently for it to be of any practical dancefloor use. The Chris Lake remix is just a waste of everybody's time from beginning to end. » Don't get us started on the 'Never Touch That Switch' remixes. » "I found myself by circumstance across a room where people dance" is either Classic Tennant or Robbie Doing Classic Tennant Quite Well. » If this is the last single from 'Rudebox' and if Robbie's next move is to record another bloody 'swing' album then it is YOUR fault for not buying this single and the blood is NOT on our hands.

This may not be the right place to post this since it doesn't deal with Robbie directly, but I thought that Robbie fans might like to see it. Its a video taken from the Craig Ferguson show on CBS (its a late night comedy show) where he addressed the whole celebrity issue in the media, specifically the death of Anna Nicole Smith and the sad situation Britney is in. He said that it doesn't feel right to make fun of people who are down and clearly need help, and that its only funny because they are famous. He's done that numerous times in the past himself, and now he doesn't feel good about it, and plans to stop it. Anyway, it seemed to make an impact in the US, people are talking about this and many were very impressed that someone stood up and started talking sense and in a very classy way. Lets hope that other members of the media take notice, on the both sides of Atlantic. :cheer: Its quite long (12 min) but definately worth watching, anyone who has any interest in todays culture will find something in it. Ignore the audience, they laughed when they really weren't suppossed to, but the comments for the video show that the majority got the right message... I don't know how to post an embedded video, so I'll just post a link: Craig Ferguson Show

Bongo Bong out

Robbie Williams Apreciation Pages: www.forums.rwap.org I just checked and it worked for me, if you want I could upload it on yousendit

There's a link to download it on RWAP (nomorepure posted it), and it's definately working, if you wanna try :)

Yes, it's number 1 in the music DVD chart, and 14 in the regular DVD chart :D

They definately will

Evidently Take That is already at 17, so it will almost certainly be top 5 and ahead of Robbie. Can it get any worse?

According to HIT40UK it sold only 147000 in the UK, I'm really hoping it's wrong

Fair enough, but I don't really find it that funny It certainly won't go down as one of RW's greatest moments

If that's what you want...

So is this why you haven't commented on Bongo Bong now when we finally got to hear it? I thought you would have set up a special thread for it :lol:

I know, how exciting is that :dance: But some song selections are strange, and not enough of Close Encounters material :unsure: But still :cheer: :cheer: :cheer: :cheer: :cheer: