Pop & Miscellaneous

Robbie Williams - Different (2012)

2012-12-29T18:45:32Z

Robbie Williams - Different (2012)


01 – Different
02 – On My Own (Demo)
03 – Soul Transmission (Demo)
04 – White Man In Hanoi (Demo)
05 – The Promise (Demo)

"I've been scared, thinking this sounds great, sounds confident, sounds big," Robbie recently said of his latest album Take the Crown. Luckily, Robster's hunch was spot on as the collection soared to the top along with lead single 'Candy', helping him to sell out numerous stadium shows for 2013. It's a hefty achievement to follow up, but one he's decided to do with a big ole slowie.

"This time I'll be different, I promise you/ This time I'll be special, you know I will," Robbie tells his love over lofty strings and a soaring chorus co-penned by his Take That pal Gary Barlow, echoing the melancholy of his Escapology days. The result may come as a bump to earth following the bouncy riffs of his previous cut; but like all of his ballads, if you stick with it, you won't regret it. --- Lewis Corner, digitalspy.co.uk

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Robbie Williams - Greatest Hits (2004)

2009-10-13T20:44:53Z

Robbie Williams - Greatest Hits (2004)


1 	Old Before I Die 	3:53
2 	Lazy Days 	3:53
3 	Angels 	4:27
4 	Let Me Entertain You 	4:22
5 	Millennium 	3:46
6 	No Regrets    (Backing Vocals – Neil Tennant)	4:43
7 	Strong 	4:19
8 	She's The One 	4:19
9 	Rock DJ 	4:16
10 	Kids    (Vocals – Kylie Minogue)	4:19
11 	Supreme 	4:15
12 	Let Love Be Your Energy 	4:06
13 	Eternity 	5:00
14 	The Road To Mandalay 	3:18
15 	Feel 	3:43
16 	Come Undone 	3:54
17 	Sexed Up 	4:10
18 	Radio	3:51
19 	Misunderstood	4:01

Greatest Hits chronicles the remarkable journey of Mr Robert Williams, from being the "fat dancer from Take That" (c. Noel Gallagher) to the multi-million pound jewel in EMI’s crown. Assembled in chronological order, all the hits are here, except for his initial solo outing "Freedom", and it’s interesting to see how his sound evolves from wannabe Britpop buffoon on the sub-Oasis pubrock of "Old Before I Die" to the subtle captivating melodies of "Feel" and "Come Undone". There are so many great tracks that it’s impossible to list them all, but highlights have to be the barnstorming "Let Me Entertain You", the bouncy, floor-filling "Rock DJ" and the song that madeth the man, "Angels". The two latest additions to his canon--"Radio" and "Misunderstood" clearly have one eye on the past, the other on the future – with the latter an instant classic Robbie ballad from the Bridget Jones 2 soundtrack and the former a foray into the world of electro pop that sounds like a warped Human League track from the 1980s. This has to be Robbie’s forte, his ability to make great pop records that always sound fresh and full of energy. Every home should have a copy of this album, and chances are, by the end of 2004, most of them will. -- Melanie Wilkin, Amazon.co.uk

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Robbie Williams - In And Out of Consciousness (2010)

2010-11-03T12:03:27Z

Robbie Williams - In And Out of Consciousness (2010)

Disc 1:

01. Shame
02. Heart and I
03. Morning Sun
04. You Know Me
05. Bodies
06. She's Madonna
07. Lovelight
08. Rudebox             play
09. Sin Sin Sin
10. Advertising Space
11. Make Me Pure
12. Tripping
13. Misunderstood
14. Radio
15. Sexed Up
16. Something Beautiful
17. Come Undone
18. Feel
19. Mr Bojangles

Disc 2:

01. I Will Talk and Hollywood Will Listen
02. Somethin' Stupid
03. The Road To Mandalay
04. Eternity
05. Let Love Be Your Energy
06. Supreme
07. Kids
08. Rock DJ
09. It's Only Us
10. She's The One
11. Strong
12. No Regrets
13. Millennium                play
14. Let Me Entertain You
15. Angels
16. South Of The Border
17. Lazy Days
18. Old Before I Die
19. Freedom
20. Everything Changes

Disc 3 - B Sides and Rarities:

01. Often
02. Karaoke Star
03. Toxic
04. My Culture
05. Nobody Someday
06. Get A Little High
07. One Fine Day
08. Coffee, Tea and Sympathy
09. Do Me Now
10. The Postcard
11. Meet The Stars
12. Don't Stop Talking
13. Don't Say No
14. Lonestar Rising              play
15. Lola
16. The Only One I Know
17. Elastik
18. Long Walk Home

Didn’t we have a Robbie Williams best-of just six years ago, and isn't Bodies the only memorable hit he’s had since then? Well, Rudebox was memorable, too. But not in a good way.

That’s not the point of this double-CD set, though: sandwiching all of William’s UK A sides are two new Williams/Gary Barlow collaborations and Take That’s Everything Changes. Williams seems to be psychologically clearing the decks for a certain reunion.

The sequencing is bizarre but has its own kind of logic, working backwards chronologically, with tracks from the same albums clumped together. Many of the songs are amongst the strongest chart hits of the new millennium, especially Williams’ collaborations with Guy Chambers, the insane, irrational 2002 split from whom Williams has never quite recovered from, artistically or commercially. As the familiar tunes go by, one is struck by the fact that Williams is both underrated (he’s dismissed by serious critics as a bit of an arse, but have the critical darlings made music as poignant as Angels, as self-deprecating as Strong, as haunting as Feel? Also, Williams can sing) and overrated (studded with much-loved songs this set may be, but arrangement overkill and a relentlessly inward lyrical direction also make it ultimately suffocating).

The album bumps to a very uncertain close. Not only does the backwards trajectory mean that all the great songs are followed by that banal cover of George Michael’s Freedom that Williams only recorded as an Up Yours to his old colleagues, but taking his leave with the anodyne processed pop of Everything Changes is truly somethin’ stupid. Presumably Williams is telling us that he has come home again, but in fact had he not been sacked by Take That, he would never have been motivated to prove himself with edgy, knowing music light years beyond the boyband.

As for the Barlow/Williams newies, Shame is as good as it sounds on paper, Barlow’s sumptuous melodic skills allied to a lyrical prowess we never suspected Williams had in the Take That days as the two engage in a sweetly regretful dialogue with each other about their past feuds to smooth acoustic backing. Heart and I, however, is just a throwback to Take That’s most soporific moments.

If this compilation is closing a chapter, the jury is still out on whether the next one is going to be a gripper. ---Sean Egan, BBC Review

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Robbie Williams - Rudebox (2006)

2009-10-13T20:47:13Z

Robbie Williams - Rudebox (2006)


1.Rudebox
2.Viva Life On Mars
3.Lovelight
4.Bongo Bong/Je Ne T'Aime Plus / Bongo Bong / Je Ne T'aime Plus
5.She's Madonna
6.Keep On
7.Good Doctor
8.The Actor
9.Never Touch That Switch
10.Louise
11.We're The Pet Shop Boys
12.Burslem Normals
13.Kiss Me
14.The 80's
15.The 90's
16.Summertime (Including Hidden Track "Dickhead") / Silence / Dickhead / Summertime

This is not what Mr. Williams was expected to release. Previously Robbie has shown us his soul in his songs together with excellent lyrics, sometimes soulful, sometimes hooligan music. But it is quite difficult to imagine Robbie Williams going so deep in electronic music. Not simply into electronic music. But into a sore, somewhere outdated and even ear-aggravating electronic music followed by rap and hip-hop soundings which are simply incoherent with music. What I'm trying to say is that it is a very heavy, eclectic album for a pop musician and thus, there is no doubt why the album was received negatively by many music critics. It’s far not what the public wants to hear. And what the public does not want to hear often receives a bad mark. This is not really good sometimes. In the same way Dostoevsky’s “Crime and Punishment” received appalling reviews from the critics when it was just published. In the similar way, “Rudebox” is extremely monotonic, “over-rap-ped”, heavy, and, in some places, is extremely annoying. But this is it what makes the CD worth listening.

At first, the CD sounds like being over-americanized with hip-hop, rap and electronic music dominating the album. The first set starts with the single “Rudebox”, followed by a cowboy-styled “Viva Life on Mars”, which is in turn substituted by a single “Lovelight”, a cover on “Bongo Bong” and retro-type “She’s Madonna” and it finishes with “Keep On” and “Good Doctor”. These songs have one thing in common: absolutely nonsense lyrics (“She’s Madonna” may be an exception). If the first three songs are at least listenable, other four are simply unlistenable even though Williams reads rap far not bad. These four, starting from "Bongo Bong" and finishing with "Good Doctor" can be called as completely chaotic and unstructured, being backed by aggravatingly monophonic music. After that a simple question may come up to the head: two what Robbie Williams has fallen?

However, the second part of the CD shows us that he hasn’t even. Here, step-by-step, the songs become more and more meaningful, understandable and structured. Moreover, music appears to be significantly juicier, however, the upper section being still like a super-heavy metal element from the Mendeleev’s Periodic Table. Nevertheless, such a feeling goes away after Robbie reluctantly declares “good bye to the normals” in “Burslem Normals” song with the “normals” representing this annoying old-fashioned monotonicity. Furthermore, here Robbie Williams sings warmer and more honestly than the cold and monophonic Robbie Williams in the first part.

The album, finally, finishes with much lighter compositions which are the cover “Kiss Me”, “The 80s”, “The 90s” and, finally, “Summertime” which depicts the lyrical hero of Robbie finally out of his infinite shell of depression and despair.

So, what have we experienced? First, we felt arrogance, boredom and complete uncertainty about the future, the latter being swayed off by the following songs what makes us believe in something happier again. Robbie Williams, in this album, invited us to stand in his shoes, to feel his depression, mental chaos and his mood changes. That is why, maybe, the album is called “Rudebox”. It is rude; its music is in a box of non-originality and over-monotonicity. At the same time, we may feel how the lyrical hero was trapped in this rudebox and how he got out of it in the end. The album may look fancy and cheap by its cover and the first single but in reality it is a very deep and psychological set of songs, which actually tests the listener whether he/she is capable of taking the role of a pop-rock star. ---Choi Korie Bextor, sputnikmusic.com

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Robbie Williams - Songbook (2009)

2009-10-17T13:10:50Z

Robbie Williams - Songbook (2009)


01 Let Me Entertain You (Live From Knebworth
02 Feel (Live from Knebworth
03 Come Undone 
04 Viva Life On Mars 
05 The Trouble With Me 
06 Man Machine 
07 Me And My Monkey 
08 No Regrets (Live From Slane Castle) 
09 Phoenix From The Flames 
10 Nan s Song 
11 Rock DJ (Live from Mungersdorfer Stadion, Koln) 
12 Angels (Live from The Forum, London)

Songbook is a compilation album by English pop singer Robbie Williams. It was given away for free inside the Mail on Sunday on 11 October 2009.

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Robbie Williams - Swing When You're Winning (2001)

2009-10-13T20:48:44Z

Robbie Williams - Swing When You're Winning (2001)


   1. I will talk and hollywood will listen
   2. Mack the knife
   3. Somethin' stupid (Robbie Williams & Nicole Kidman)
   4. Do nothin'till you hear from me
   5. It was a very good year (Robbie Williams & Frank Sinatra)
   6. Straighten up and fly right
   7. Well, did you evah (Robbie Williams & Jon Lovitz)
   8. Mr. Bojangles
   9. One for my baby
  10. Things (Robbie Williams & Jane Horrocks)
  11. Ain't that a kick in the head
  12. They can't take that away from me (Robbie Williams & Rupert Everett)
  13. Have you met miss Jones?
  14. Me and my shadow (Robbie Williams & Jonathan Wilkes)
  15. Beyond the sea

Performance dynamo and chameleonic entertainment personality Robbie Williams made a rapid transformation -- from English football hooligan to dapper saloon singer -- for his fourth LP, Swing When You're Winning. Still, Williams' tribute to the great American songbook is a surprisingly natural fit with its intended target: '50s trad-pop patriarchs like Frank Sinatra and Dean Martin. And just like those two loveable rogues, Williams has brawled and boozed in the past, but isn't afraid to wear his heart on his sleeve; in fact, he's one of the few modern pop stars to fully embrace affecting balladry and nuanced singing. Williams and longtime producer Guy Chambers are also extremely careful with their product, so it shouldn't be surprising that Swing When You're Winning has innumerable extra-musical touches to carry it over: the cover features Williams relaxing in the studio in a period suit; his contract with EMI enabled the addition of the treasured Capitol logo at the top of the sleeve, and several tracks were even recorded at the famed Capitol tower in Hollywood.

Fortunately, Williams is no less careful with his performances. Since he lacks the authoritative air of master crooners like Sinatra and Bing Crosby (along with the rest of humanity), he instead plays up his closer connections to the world of Broadway. His readings are dynamic and emotional -- sometimes a consequence of trying to put a new spin on these classics (six of the covers are Sinatra standards, three are Bobby Darin's). He also invited, with nearly universal success, a series of duet partners: Nicole Kidman for the sublime "Somethin' Stupid," Jon Lovitz for the irresistibly catty "Well, Did You Evah," Rupert Everett for "They Can't Take That Away From Me," longtime Sinatra accompanist Bill Miller on "One for My Baby," even Sinatra himself for a version of "It Was a Very Good Year" on which Williams takes the first two verses (over the 1965 arrangement), then bows out as Sinatra's original counsels him concerning the later stages of life. Though it may be an overly close tribute to a familiar original (like many of the songs here), Williams' considerable skills with expression and interpretation largely overwhelm any close criticism. He's definitely much better on the comedy songs, especially the hilarious "Well, Did You Evah" (originally a duet for Crosby and Sinatra in the 1956 film High Society). Lovitz's rounded tones and faux-affected airs are a spot-on interpretation of Brother Cros, while Williams' emulation of a boorish lug ("That's a nice dress -- think I could talk her out of it?") is nearly perfect as well. Though arranger Steve Sidwell hasn't done many charts (and those for the movies Moulin Rouge, Bridget Jones' Diary, and Romeo + Juliet), he also acquits himself nicely aping classic scores for "One for My Baby" and "Beyond the Sea." The lone Robbie Williams original is "I Will Talk and Hollywood Will Listen," a sweeping pipe-dream fantasy of true American superstardom for Britain's biggest pop star. It could happen, too; Pierce Brosnan surely isn't growing any younger. ---John Bush, AllMusic Review

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Robbie Williams - Swings Both Ways (2013)

2013-11-30T16:33:46Z

Robbie Williams - Swings Both Ways (2013)


01 – Shine My Shoes
02 – Go Gentle
03 – I Wan’na Be Like You
04 – Swing Supreme
05 – Swings Both Ways
06 – Dream A Little Dream
07 – Soda Pop
08 – Snowblind
09 – Puttin’ On The Ritz
10 – Little Green Apples
11 – Minnie The Moocher
12 – If I Only Had A Brain
13 – No One Likes A Fat Pop Star

It is a question worth asking, as Robbie nowadays finds himself in a career mid-life crisis. No longer a teen idol, and cast out into the wilderness by Radio 1, he yet remains far too flippant, subversive and generally interesting a figure to settle for a more mature/adult audience à la James Blunt or Michael Bublé.

As British pop's great prankster ponders this dilemma, he has taken a safe sideways step and gone back to the future. While his 2001 Swing When You're Winning album was regarded at the time as self-indulgent, its seven-times-platinum sales make it one of his biggest selling records to date. A belated follow-up swing album is thus pretty much a no-brainer.

Unlike the first album, Swings Both Ways also features original material among the Sinatra-style covers. Guy Chambers is now firmly back in Williams' fold, and Shine My Shoes, Go Gentle and the title track (a hyper-camp duet with a drawling Rufus Wainwright) are fun, sophisticated pop songs, if hardly likely to challenge the sales of Angels or Let Me Entertain You.

It's a Christmas album in all but name; hence the succession of star names dueting on hoary old standards. Robbie patently had fun in the studio larking through Dream A Little Dream with Lily Allen, Little Green Apples with Kelly Clarkson and the Jungle Book's I Wanna Be Like You with Olly Murs, even if the results could hardly be categorised as essential listening.

The album closer, No One Likes A Fat Pop Star ("You just can't be portly this side of 40") shows that his mordant, self-mocking wit is safely intact, but Swings Both Ways is an album that teens will give to their aunties as a Christmas present, rather than vice versa – a fact that Robbie may like to ponder as he loiters at his career crossroads… ---Ian Gittins, virginmedia.com

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Robbie Williams – Greatest Hits (2008)

2010-07-08T12:36:42Z

Robbie Williams – Greatest Hits (2008)

CD1
01. Rudebox 04:47
02. Lovelight 04:00
03. Tripping 04:36
04. Rock DJ 04:18
05. Supreme 04:17
06. Feel 03:45
07. Strong 04:42
08. No Regrets 05:14
09. Millennium 04:09
10. Let Me Entertain You 04:26
11. Kids 04:21
12. She’s the One 04:23
13. The Road to Mandalay 03:20
14. Come Undone 03:56
15. Lazy Days 03:56
16. Old Before I Die 03:58
17. Angels 04:29
18. Better Man 03:21
19. We Are The Champions 03:51

CD2
01. Bongo Bong and Je Ne T’aime Plus 04:50
02. Sin Sin Sin 04:11
03. Advertising Space. 04:39
04. Radio 03:53
05. Eternity 05:02
06. The Trouble with Me 04:22
07. Please Don’t Die- 04:49
08. Something Beautiful 04:54
09. Somethin’ Stupid 02:47
10. Sexed Up 04:12
11. Let Love Be Your Energy 04:08
12. Man Machine 03:40
13. Karma Killer 04:31
14. Misunderstood 04:03
15. Win Some, Lose Some 04:24
16. Jesus in a Camper Van 03:43
17. Killing Me 04:02
18. One of God’s Better People 03:34
19. Love Calling Earth 03:59

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