Robbie Williams

Week 13: The Lottery Winners- KOKO (Keep on Keeping on)

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As you may recall, their last album was a unique creation, structured as a therapy session with a psychiatrist. This innovative approach was a testament to the band’s creativity. Now, with their fifth album, the band has truly taken off from their previous record. Robbie Williams, a notable figure in the music industry, has even become a fan and will have them support him on his summer tour. The band has also collaborated with some very familiar faces on this album, and we’ll delve into those in the track-by-track review.

Let’s get into it:

Superpower:

The shortest track starts with a public service announcement and maintains that vocal style in the verses. Co-vocalist/bassist Katie Lloyd then takes the lead, showcasing her vocals in the chorus. The track also highlights her bass expertise over Thom Rylance’s conscious lyrics, which delve into the importance of self-acceptance. The song also references the acronym behind “KOKO”, a phrase used by Liam Gallagher in ‘I’m Outta Time’ for the latest Oasis record “Dig Out Yer Soul”. The phrase, “Keep On Keeping On”, might have led some of you to wonder if it was a nod to a Camden venue.

You Again ft Jon McClure:

As you can see, the second track is a collaboration between the Reverend and the Makers frontman, Jon McClure, and, yes, he is related to Vicky. I know someone who is friends with her, and I had to ask the question. Anyway, ‘You Again’ was the teaser for the album. The track itself is about someone or something from the past that never seems to fade away, so we find ourselves thinking about it frequently. As with the opener, the sobering lyrics are concealed behind a groove instrumental.

Panic Attack:

If you have never experienced a panic attack, this track goes in-depth into what happens when it happens. Thom is known for spoken word and rapping during the songs, but this one is just him singing, showing he has more to showcase. In the final chorus, Thom is joined by children who provide backing vocals. ‘Panic Attack’ eases off that groovy/funky instrumental, which is quite apt when you consider the subject matter.

UFO:

I found the video pretty funny, with this young lad making friends with a child alien. Above all, there is a tremendous duet between Thom and Katie. This time, there is no groovy/funky instrumental, but a downtempo instrumental to match the lyricism.

Ragdoll:

I could not believe who I thought was accompanying Katie. I thought it sounded like the guy from Nickelback, and sure enough, it was indeed Nickelback frontman Chad Kroeger. I never expected that in the slightest. This is not just because the popularity of Nickelback has abated over here but also because it just appeared to be an unlikely collaboration. It is quite refreshing to see an artist from across the pond collaborating with an independent band. Chad’s role in the song includes a back-and-forth romantic duet with Katie. The instrumental has a Nickelback-esque feel, making the track powerful and raw.

Struggling:

The album title is referenced throughout, so you would be pardoned for mistaking it for the title track. I am also guilty of it. When I saw the name, I thought it was a mistake and that it was indeed the title track. One of the rawest songs on the record, addressing the struggles we face in life. It has the same vibe as ‘UFO’ but remains uptempo.

Turn Around:

Their latest single has a summer and festival feel to it. This will go down well at those open-air venues they will be playing on tour with Robbie in the summer. You would have also heard this one being played to death on air at the moment.

Monaco:

Again, this follows the same vibe as the previous track. It’s apt to be titled ‘Monaco’ because you associate that principality with sunshine and glamour. Even though both tracks have hard-hitting lyrics, the disco element makes for an uplifting mood.

Three Wishes:

From the uplifting of the previous two tracks to the melancholic duet between Thom and Katie discussing Thom being rueful about someone no longer a part of his universe and how he wished he had three wishes to have them return. It appears out of place from the rest of the record, but as Spider-man says, “Everybody gets one”.

Dirt and Gold ft Frank Turner:

Another collaboration, this time with the outspoken Frank Turner, flirts with folk music, with stringed instruments over football terrace chanting backing vocals. As usual, the feel-good instrumental is laced with the order of the day: melancholic, conscious lyricism.

The Ceiling:

The final collaboration is with a band that scored two number-one albums in the past 14 months. (You can also include this one. Rick Witter certainly does.)Shed Seven. The track itself is a blend of The Lottery Winners and Shed Seven. We have thumping drums, a brass section, an infectious guitar solo for Shed Seven, and Thom’s spoken-word vocals for The Lottery Winners. The track has a typical Shed Seven swagger—one of the album’s highlights.

KOKO:

The closer is appropriately the title track. The acoustic guitar is utilised over the message conveyed throughout the listening experience.

Overall:

This exceptional record merits a summary as the band, once again, fearlessly tackles issues of mental health that many of their peers shy away from. The album is a perfect blend of melancholic, introspective lyrics and uplifting instrumentation, making it a universally appealing piece, much like their previous record. The collaborations, including the unexpected one with Chad Kroeger of Nickelback, were surprisingly successful. While I personally favour the one with Shed Seven, the one with Jon McClure is equally impressive. The band’s ability to cater to a diverse audience is evident in this album, and I am excited to see them continue to push their boundaries and become one of the Indie greats.

Song recommendations: ‘The Ceiling’, ‘You Again’, ’Monaco’

9/10

Week 4: Robbie Williams- Better Man Official Soundtrack

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As you can see from the front cover, it bears a striking resemblance to the 1997 album “Life Thru a Lens”, with Robbie surrounded by the paparazzi and a shaven head. However, the ‘Better Man ‘ cover, named after one of his songs, features a unique twist-a CGI monkey in place of the human Robbie. The monkey also plays Robbie in the film. The album also features a range of special guests , including Carter J Murphy, actor Steve Pemberton, who plays Robbie’s dad, Tom Bales, Kayleigh McKnight, and Adam Tucker, who provides the vocals for Robbie’s earlier material. The reimagined songs, featuring an orchestra and shortened for the soundtrack, also include the man himself. Now, let’s move on to the track-by-track review:

Feel featuring Carter J Murphy & Steve Pemberton:

The song undergoes a transformative journey in the reimagined version . It evolves into a duet, with Carter and Steve stepping into the roles of a young Robbie and his father. As the melancholic melody unfolds, Robbie’s presence is felt, adding a poignant layer to the song. This transformation adds a new dimension to the original version, making it a compelling listen.

I Found Heaven featuring Tom Bales & Adam Tucker:

The original song , one of the very first by Take That, the boyband that launched Robbie’s career, is a quintessential 90s pop with a club element. Adam Tucker’s vocals, reminiscent of a young Robbie , are so similar that it’s often a delightful challenge to tell them apart. This similarity adds an intriguing layer to the performance, engaging the audience in a unique listening experience.

Rock DJ:

I didn’t mind this song when it first came out in the summer of 2000, but it got overplayed and, therefore, saturated. I grew to hate it for its cheesiness. The new version hasn’t changed my opinion.

Relight My Fire featuring Tom Bales & Adam Tucker:

I never liked the original version with Lulu of this poppy dance track, and I still don’t.

Come Undone:

I still need to know how Tupac Shakur inspired this song. Anyway, I liked this one for its lyrical content and the story Robbie foretells. The song tells the story of his dealing with instant fame, his father leaving home, self-loathing, and drug addiction.

She’s the One featuring Adam Tucker & Kayleigh McKnight:

As you’re familiar, this was a cover of the World Party song, a rendition that stirred the late Karl Wallinger’s animosity towards Robbie. Adam, with his heartfelt vocals, is joined by Kayleigh, who embodies All Saints member Nicole Appleton in the film . Together, they bring to life this romantic ballad.

Something Beautiful:

I still do not like it, but I understand now that the song is about Nicole aborting his child. So, instead of this song being pop, the uptempo conceals a darker meaning found within the lyrics.

Land of 1000 Dances featuring Adam Tucker:

This track features a repetitive chorus, blaring drums, and a brass section. The orchestra shines through as the vocals reveal the sense of overwhelmingness that Robbie experienced on his way up.

Angels featuring Adam Tucker:

I have always loved this song, and if you say you do not, then you are a fucking liar. It is a heartfelt ballad with a sweet guitar solo. It isn’t a patch on the original, but the soaring orchestra is used to great effect and represents how Robbie was mourning for his Gran and then how his emotions boiled over, which led to him going off the rails and turning to drugs and alcohol to escape the trappings of fame.

Let Me Entertain You featuring Adam Tucker:

One of his anthems that always gets the crowd in the mood, with its rock n roll element and a sublime brass section. This version replicates the live version of the iconic and record-breaking Knebworth Park gigs in 2003. Need I say anymore?

Better Man featuring Adam Tucker:

From the rock-n-roll anthem of the previous track to a more downtempo one, this track showcases the artist’s growth and introspection while he was checked in at the Priory to battle his demons and addictions . I have always loved this track for its reflective lyrics and the mature delivery in the vocals.

My Way featuring Adam Tucker & Steve Pemberton:

Another track that replicates a live performance, this time from Robbie’s swing concert at the Royal Albert Hall in 2001. Robbie dedicated it to his parents in the venue. Unlike in the film, Steve, who depicts Robbie’s father, joins him onstage. Steve can certainly sing, and in a way, this version is just as good.

Forbidden Road:

The final track was written specifically for the film and is used for the end credits. It is an acoustic ballad with reflective lyrics about Robbie’s journey so far. It is certainly not deserving of the end credits, where most people lose interest and leave the room/cinema.

Song recommendations: Angels, She’s the One, Forbidden Road

8/10

Week 48: Take That- This Life

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Take That came to dominance in the 1990s and drove teenage girls and young women wild. The band split in late 1996 before reforming again in late 2005 without Jason Orange and Robbie Williams. Robbie would rejoin the band in 2011 (I think) before once again leaving and recommencing his successful solo career. During the band’s 9-year hiatus, Mark Owen had a brief solo career. Howard Donald became a DJ after his debut album was shelved, and Gary Barlow released about four solo albums but had more success as a songwriter. The band reunited for a Channel 5 early-2000s documentary at a country manor to talk about the band without Robbie, who did leave a video message addressing each member. As we know, from there, the band reformed to release material and perform live again. The band is more democratic nowadays, with each member taking the lead vocals. 

They made their debut appearance recently on Later…with Jools Holland, where they played two songs off “This Life” and said that the album, which was recorded in Nashville, was inspired by the country scene. I will later explain what I thought it sounded like.

“This Life” comes six years after “Wonderland”. Of course, there has been a greatest hits collection, a live album of their greatest hits, and surprisingly, a musical, which became a film released in the summer starring the Irish comedian Aisling Bea. The band have already sold out a staggering six-night residence at London’s O2 in April next year for the upcoming “This Life” tour. We are currently in the era of nostalgia, so this is no surprise. Take That, as we know, has a fantastic song catalogue, making recording new material a challenge because it will always be challenging to match those world-renowned hits. 

One thing you will notice with this album is that it needs the singalong anthems we know the band for. I don’t know what chief songwriter Gary Barlow’s thinking is behind this, but he did tell Jools that this is a record that the band wanted to do rather than what the singles chart would dictate. ‘We Got All Day’ is one of the rare anthems on the album that will see the crowd waving their arms or holding their phones/lighters aloft. The final track, ‘Where We Are’, is more of the band revisiting their past glories by making this the record’s ‘Never Forget’ moment, where they sing about how far they have come over a bombastic production.

The album is quite eclectic for the band; the title track is something different. It sounds like a 1970s soap-themed tune with a jaunty piano. As you can imagine, it didn’t chart upon its release. The next track I will highlight is ‘Windows’, one of the songs featured on Later…with Jools Holland, an acoustic track more akin to their fellow Mancunians, the Smiths. They said the song is country, but I got a Smiths-esque sound instead. ‘Time and Time Again’ is the closest I came to hearing anything resembling country music with its relaxed acoustic strumming. ‘Brand New Sun’ was another song played on Later…with Jools Holland, and this one, with its electric guitar solo, reminded me of, once again, fellow Mancunians New Order. If I recall correctly, there is a Peter Hook-esque bassline. Although “This Life” differs entirely from anything they have done previously, you must feel it lacks the anthems we are accustomed to from the band. Despite that, this low-key album will not stop hardcore fans from flocking to their upcoming shows, and therefore, the band can enjoy themselves in the studio and have autonomy over what they want to record.

Song recommendations: ‘Windows’, ‘Brand New Sun, ‘We Got All Day’

7/10

Week 37: Robbie Williams- XXV

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 have no idea where I first heard Robbie Williams. Take That appeared out of nowhere in the 90s and became extremely popular without a steady rise. I don’t mind some of Robbie’s work since he decided to go solo in 1997, which started with the indie-inspired ‘Old Before I Die’. I love that song, but Robbie isn’t too keen on it when you read his 2016 autobiography “Reveal”. He appears to hate it with a passion. I used to love hearing it on the radio, on television or on the jukebox at the local Riley’s snooker club. It epitomised the whole indie revival movement during that period. I am surprised by his submission because after being discarded by the Gallagher brothers, he said in his book, it didn’t deter him from liking Oasis, and he enjoys a lot of indie music. I don’t fucking care if some of you are smirking at me reading his book, it was an intriguing read, and you get to know the honest Robbie and not the one slaughtered by the media. So, my initial plan was to listen to the new tracks on “XXV”, but he had other ideas. Yes, it is his greatest hits, but not in their original guise. The songs have been reimagined with Jules Buckley conducting an orchestra, and there is even a Beethoven version of ‘Angels’. That’s the introduction over; now to the review. I have elected to analyse each classic and new song track-by-track.

Let’s begin:

Let Me Entertain You:

No one can forget this beast of an anthem with its rock attitude. When this was recorded, the La’s and Lightning Seeds drummer Chris Sharrock was drumming for Robbie. Of course, Chris would go on to join Robbie’s friends Oasis, Beady Eye, and his least favourite Gallagher brother Noel Gallagher’s High Flying Birds. The song carries on in the same vein, but the horns and choir bring that celestial finish to it. Already I am impressed.

Come Undone:

A friend had this on a Now That’s What I Call Music compilation in 2003, and I was reading the footnotes. Tupac Shakur inspires this song. I was shocked to hear this because I don’t hear any references to Pac in the song. On a side note, Robbie and Pac met in 1995 at the Versace birthday party. They both shared a joint, and they got on almost immediately. Pac didn’t know about Robbie’s portrayal by the media and didn’t seem to care either. They shot the shit about life and, for a brief moment, became friends. Has the song improved much since the original? Only slightly. Not much to write about.

Love my Life:

In the book, Robbie said he wrote this for Theodora(his daughter.) to tell her never to forget to love your life despite what others might say about you. Again, the orchestra lift this song to another level; to be honest; it is fit for the West End when they do a musical on Robbie.

Millenium:

There was no point in tweaking this track. It doesn’t enhance it, as the original already has a stringed section. I believe it was pilfered from a James Bond theme song. He was better off not bothering to rework this one.

the Road to Mandalay:

Again, a pointless rework. The original is better.

Tripping:

For the third time in succession, the track didn’t need necessary work. I am sure this one catches your attention by starting off with a reggae vibe before returning to the familiarity. You feel cheated when the reggae falls away after the introduction. I’d have preferred a reggae vibe on the rework, in all honesty. I cannot recall a single track where Robbie has done reggae.

Bodies:

I’ve never been a fan of it, and the rework didn’t do much for me.

Candy:

Jesus. This song made me cringe when it came out, and still makes me cringe now. Robbie is better than bubblegum pop.

Supreme:

Again, I believe another song pilfered from a James Bond film. I didn’t feel a rework was necessary. I mean, what could Jules have possibly done to improve it? The original has an orchestra. There are, however, female backing vocals. Still didn’t do much to improve, though.

Strong:

Again, Robbie puts on his indie head in the original, and to be honest, there is not much difference between the XXV version and the original. It’s a photo finish which is better. 

Eternity:

Just like ‘Strong’, there isn’t much difference in both versions.

No Regrets:

My favourite track off “I’ve Been Expecting You”, and it has to be the original that will remain my favourite. He tries to make this more upbeat when the original is melancholic, which fits with the concept.

She’s the One:

I love this cover of World Party’s track, even though the original is much better. It was a nice nod to World Party, but Karl Wallinger has said on many occasions he now hates performing the song and that Robbie ruined it for him. In the book, Robbie mentions how through a third party, Karl said, “When you see him, tell him he’s a cunt”. If Karl hated the original cover, he isn’t going to be too fond of the XXV version, either. However, I believe the majority will agree with him this time.

Feel:

I was not too fond of it then, didn’t like it when Peter Schmeichel played on it live, and I still don’t like it now.

Rock DJ:

When this came out in the summer of 2000, I liked it. Then, it was played to death, so I stopped listening to it, and as I got older, I could not stand it. Even listening to the rework was too much.

Kids:

I loved this when it came out in the autumn of 2000, with its rock attitude and the collaboration with Kylie Minogue. Kylie features in the rework. Again, a photo finish of which one is best.

Angels:

The original pisses all over this. Do look out for a surprise later on, though.

Lost:

Now, we have come to a brand new track. It was made for this album. Yes, I know it was actually made for this record, but what I mean is it’s a perfect fit. The orchestra musicians compliment each other.

Nobody Someday:

An acoustic guitar accompanies Robbie’s vocals, accompanied by a soft choir. A vast improvement on the original.

Lazy Days:

The original itself was lazy instrumentally and vocally. The rework brings it to life—the orchestra playing a pivotal role.

Hot Fudge:

I never liked it and still don’t.

Sexed up:

Again, I wouldn’t say I liked the original, and my concentration wavered on this one.

More than This:

Another brand new song. Once again, it is a perfect fit, just like ‘Lost’.

Disco Symphony:

Another new track that does exactly what it says. I can see this one being played at parties and wedding receptions imminently. Very uptempo and very disco.

Better Man:

You’re better off listening to the original.

Home Thoughts from Abroad:

The Magic FM moment on the album. Although to be fair, the majority of the record will fit nicely on their playlists.

the World and Her Mother:

The final new track has the Robbie signature written all over it.

Into the Silence:

Again, another photo finish.

Angels (Beethoven AI):

This song is merged with Beethoven’s ‘Unfinished 10th Symphony’, and fuck me; it fits in perfectly. I never thought I would see the day when ‘Angels’ collaborates with ‘Unfinished 10th Symphony’. I was blown away when I heard it, and it fucking destroys the original. That was a very clever move by Robbie. This version is beyond space; it’s that good.

Song recommendations: ‘Angels(Beethoven AI)’, ‘Nobody Someday’, ‘Disco Symphony’

7/10

Why such an average rating, you ask? Well, because I prefer the originals.