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ROBBIE WILLIAMS
RATING: 9
PLAY THESE: ANGELS, STRONG, SHE'S THE ONE
SKIP THESE: MAN MACHINE, KARMA KILLER
A bastardized North American-only release, the aptly titled The Ego Has Landed introduces "the fat dancer from Take That" to the Americas by compiling most of the highlights from his first two British albums, Life Thru a Lens and I've Been Expecting You. The album and its accompanying singles made Williams a minor star in Canada, but not so in America, where he has been met with a uniquely American mixture of indifference and bemusement. But in spite of William's failed stateside ambitions (or perhaps because of them), The Ego Has Landed is a winner, showcasing William's considerable talents as a songwriter, singer, and all-round entertainer.
Apart from a couple of half-hearted stabs at alternative hard rock ('Man Machine' and 'Karma Killer') this a very enjoyable pop record - and diverse too. Williams has a knack for coming up with catchy melodies, and there are plenty of hooks to be found here. But perhaps the most striking thing about these songs is the humor - a rarity in contemporary pop. Witness the Beatlesque 'Strong,' with its hilarious references to KISS, Oprah, and chronic masturbation, as well as the Oasis-like 'Old Before I Die,' which pays tribute to the pope in highly irreverent fashion ("I hope to see the day the pope gets high"). Songs like these demonstrate that Williams may be an egotist, but at least he's an egotist who is capable of laughing at himself.
Nevertheless, Williams is just as convincing when tackling some of the more "serious" songs, such as his trademark anthem 'Angels,' as well the melodic ballad 'She's the One,' which proves that Williams is a top-notch vocalist. As for the rest of the highlights, they're almost too numerous to name: the ultimate Williams credo 'Let Me Entertain You,' the sarcastically bitter 'No Regrets,' and the understated 'One of God's Better People'...the list goes on. While it may not be fashionable to like Williams in many circles, this album proves that his prolonged worldwide popularity is no accident.
SING
WHILE YOU'RE WINNING (2000)
RATING: 7
PLAY THESE: LET LOVE BE YOUR ENERGY, BETTER MAN, ROCK DJ
SKIP THESE: NONE
Another hit album in the increasingly impressive Robbie Williams discography, Sing While You're Winning sees Williams abandon his familiar-but-stale Oasis template and move towards a more dance-oriented sound. In fact, the album is absolutely teeming with samples and drum loops - a fairly drastic change of direction for Williams. However, it's a change for the better. Unlike most disingenuous loop-laden music (i.e. P. Diddy, Usher, etc.), which usually consists of a endlessly looped samples played over a generic hip-hop beat, Williams and Chambers actual appear to have spent more than a few minutes piecing together most of these tracks. Indeed, 'Sing While You're Winning' uses samples both intelligently and creatively - a rare accomplishment in today's pop. Instead of acting as the basis for a track - as is so often the case in rap and hip-hop - the samples Williams uses actually compliment the songs themselves.
One of the best examples of this creative approach to sampling is 'Rock DJ,' where Williams samples the bass line from Barry White's funk classic 'It's Ecstasy When You Lay Down Next to Me.' While some useless musical imbecile like Will Smith or Usher would have happily taken the sample and rapped some throw-away lines over top of it, Williams and Chambers took the trouble to write an actual song - you know, a structured musical composition with a melody and a hook that doesn't seem to be as common as it once was in urban music. Truthfully, the funky 'Rock DJ' would still be good without the Barry White sound snippet, but the sample is the icing on the cake. Other inventive uses of samples can be found on 'Supreme,' which updates (and arguably improves upon) the feminist anthem 'I Will Survive,' as well as the melodic album opener 'Let Love Be Your Energy,' a personal favorite of yours truly.
Williams also delivers a couple of great ballads, particularly 'Better Man' and 'Singing For the Lonely,' the latter of which is a weary country-flavored track with a good melody and some nice steel guitar. And once again, Williams' great sense of humor saves a few of the weaker songs, such as the Kylie Minogue duet 'Kids,' which is likely the only top 10 hit to rhyme the words "sodomy." "monogamy,' and "ornithology" within the same verse. Likewise, the misogynistic ballad 'By All Means Necessary' is absolutely swimming in great one-liners (e.g. "It all seems so easy but so are you/ I though I heard them say."). If for nothing else, buy the album for its rather unique album sleeve - probably the funniest you'll ever stumble across.
SWING
WHILE YOU'RE WINNING (2001)
RATING: 9
PLAY THESE: MACK THE KNIFE, MR. BOJANGLES, BEYOND THE SEA
SKIP THESE: NONE
When it was revealed that pop star Robbie Williams was working on an album of Sinatra covers, I, like many others, feared the worst. After all, the very idea reeks of overbearing self-indulgence on an almost Madonna-like scale. It's pretty scary stuff, especially when one considers how many careers have gone down the toilet under similar circumstances. The inevitable question was raised: Would Robbie Williams be next?
Unbelievably (or perhaps not), Robbie Williams has pulled this one off. While he may lack the powerful voice of a Frank Sinatra or a Bobby Darin, he does a fabulous job of interpreting the material, singing with an admirable combination of restraint and emotion. Perhaps it shouldn't be surprising that Williams did such a great job of it; in many ways he's a throwback to the distant era of early 1950's American pop, a time when pop stars were usually all-round entertainers who sang, danced, and acted - sometimes all at the same time.
Williams also does a great job in rounding up an impressive list of collaborators, such as Nicole Kidman, who plays Nancy to Robbie's Frank on the sublime 'Somethin' Stupid.' While it may sound like a recipe for disaster, the song actually works quite well. Other guests include Jon Lovitz, whose chemistry with Williams is evident on the hilarious 'Well, Did You Evah,' where the duo trade some great boorish lines (i.e. "That's a nice dress - think I could talk her out of it?). Even Frank himself makes an appearance with the help of modern technology on "It Was A Very Good Year,' with Williams playing the "younger" Sinatra while Frank sings the "older" bits. The track is also notable for the appearance of Sinatra's 82 year old pianist Bill Miller, whose playing brings an element of authenticity to the proceedings. In addition, Rupert Everett also guests on 'You Can't Take That Away From Me.'
Even without his talented collaborators, Williams performs well. 'Mr. Bojangles' is performed with an air of class and restraint, while 'Mack The Knife' recreates the magic of Bobby Darin better than Kevin Spacey could ever hope to achieve. Williams also delivers the decent original 'I Will Talk and Hollywood Will Listen,' a song which encapsulates Williams' silver screen aspirations while dropping the names of various A-List celebrities, such as the aforementioned Spacey. It's not exactly Frank material, but it is nonetheless charming in its own unique way.
In the end, this is an album that deserves praise. The songs are tasteful and well-performed - even the string arrangements (e.g. 'Beyond the Sea') stay true to the spirit of the times. No matter what you think Williams, you can't deny that he has far more talent than your average pop star. This is the crowning achievement for Mr. Williams - one that he deserves to be proud of.
RATING: 8
PLAY THESE: SOMETHING BEAUTIFUL, WORLD'S MOST HANDSOME MAN, COME UNDONE
SKIP THESE: ME AND MY MONKEY, SONG 3, CURSED
Robbie Williams is a fascinatingly contradictory character. He's the flamboyant egotist who suffers from episodes of self-doubt so crippling that he can barely get out of bed each morning. He's the former manufactured boy band dancer who also happens to be one of the best pop songwriters in the world today. He's the self-proclaimed womanizer who is quite possibly the gayest pop star this side of Ricky Martin. But above all, he is an exceptionally troubled individual - a fact re-enforced by his excellent new album, 'Escapology.' Never before has Williams been able to articulate his many contradictions as well as he has on this new record.
If you need proof, look no further than 'Come Undone,' an emotive ballad that effectively sums up the dichotomy that is Robbie Williams in a most brutally honest manner ("so self aware, so full of shit/ so indecisive, so adamant:). Even the comedic 'World's Most Handsome Man' addresses his contradictory nature, with Williams arrogantly spouting off lines like "it's hard to be humble when you're so f*****g big," while serving notice that he'll "fall to pieces on ya" at even the slightest provocation. The excellent lead single, "Feel" is also revealing, its distinctive piano motif and icy demeanor underlying its stark truisms ("there's a hole in my soul/ you can see it on my face/ it's a real big place"). It's a great song though, and the slide guitar is a really nice touch.
On a lighter note, the bombastic Queen tribute 'Monsoon' is guaranteed to raise a few eyebrows with its nonsensical-but-catchy chorus, while 'Something Beautiful' is a Stax-style soul number with a horn section that just might be the catchiest track on the album. Meanwhile, 'Sexed Up' is a connect-the-dots Oasis pastiche succeeds on the strength of its magnificent chorus and its cruel lyrics, which are aimed at an ex-girlfriend ("I'll go out and find another you"). Williams also prepares himself for the post-Chambers era with his first solo composition, 'Nan's Song,' a touching tribute to Robbie's recently deceased grandmother with a truly stunning melody and excellent middle eight section.
There are, however, a few less-than-inspired moments. The Mexican horn-infused 'Me and My Monkey' is the musical equivalent of an underwear skid mark, and some of the "rock" numbers (i.e. 'Cursed') are very unconvincing, which is to say that they are a waste of space. In fact, the album is just too damn long - it would benefit from losing 4 or 5 of the weaker songs. Then again, it's hard to complain when the rest of the material is so good. Buy it now.
RATING: 9
PLAY THESE: ANGELS, STRONG, COME UNDONE
SKIP THESE: ROAD TO MANDALAY, RADIO, ETERNITY
Dodgy album cover aside (unless, of course, you're either a housewife or gay), Greatest Hits is a top-notch compilation that effectively packages Robbie Williams' most popular singles into one tidy little package. And, as most of the world knows, Robbie Williams has had a lot of big hits - so many, that many of his bigger hits are conspicuous by their absence (i.e. 'Something Beautiful,' 'Phoenix From the Flames,' 'Something Stupid,' 'It's Only Us,' etc...). No mind, though. It's still a pretty entertaining listen from start to finish, although both of the two new "bonus" tracks ('Radio' and 'Misunderstood') fail to match the grandeur of the classic cuts, with 'Radio' in particular standing out as a one of Robbie's most annoying compositions to date. Admittedly, the song has a catchy chorus, but if this new B-52's-style track is indicative of William's future post-Guy Chambers direction....yikes. It's annoying New Wave drivel at its worst. Also a bit iffy is the inclusion of the double-A-sided hit single 'Eternity' and 'Road to Mandalay,' both of which are dull beyond belief (in spite of their massive popularity in Britain).
Happily, though, most of the classic Chambers/Williams collaborations are featured on this CD, including such perennial favorites as the tongue-in-cheek James Bond-nicked 'Millennium,' the icy Euro-pop of 'Feel,' and that hilarious anthem of self-depreciation, 'Strong' ("every morning when I wake up/ I look like KISS but without the makeup," etc.). And the hits continue: 'Come Undone,' 'Rock DJ,' 'No Regrets'....pretty impressive stuff, to say the least. Sure, these songs are pure pop, but in no way can they be labeled as "throwaway." Most of these tracks are well-written, intelligent, humorous, and catchy beyond belief - there's no secret behind their massive popularity. The only mystery is why success in America has thus far eluded Mr. Williams. It's not as if he's an unknown in the US - he often appears on tabloid celebrity TV shows, and is a regular on the talk-show circuit. He's probably one of the few people in America famous for being "not famous." Strange, but true. But if an entire nation can ignore a transcendent ballad of the highest quality like 'Angels,' then that really says a lot about the collective musical tastes of the good ol' US of A, don't it? But then again, perhaps Robbie should get off his arse and start touring stateside, and win over those darned Yanks once and for all.
RATING: 6
PLAY THESE: TRIPPING, MAKE ME PURE, KING OF BLOKE AND BIRD
SKIP THESE: YOUR GAY FRIEND, RANDOM ACTS OF KINDNESS
The opening track of Intensive Care, 'Ghosts,' begins with a jarring opening line that appears announce that the Robbie Williams of old has returned: "here I stand victorious/ the only man who made you come." To fans like myself who love Williams at his most egotistical and sarcastic, this is a most welcome event, a sign that this will be another typical Robbie album. Unfortunately, moments of hilarity and wit such as these are almost an anomaly on Intensive Care, which features a surprisingly even-keel Williams on most tracks. This, my friends, is the sound of Robbie Williams on Prozac (which, of course, he is). The music, the songs, the production, the.....everything is very flat and lifeless, and at times it seems like Williams has grown up and gotten respectable on us. It's a shame, really.
Let me put it to you this way, this album is the sound of a man playing a G chord for fifty minutes straight, singing pleasant-but-generic melodies, backed up by dated 80's synths and boring hip hop drums. Gone are the outrageous phrases, the cynical delivery, the solid melodies, the interesting production and sound loops, and - most of all - Guy Chambers. You see, Williams lost the plot when he parted company with his former songwriting partner, who wrote great pop tunes that perfectly suited Robbie's fractured personality. It is clear from the start that Williams' new collaborator, Stephen Duffy, has little chemistry with Robbie, and that he simply can't come up with very many good melodies or chord progressions. The 80's retro sound is all well and good, but this is really just Robbie keeping up with the trends, not the sound of the old Williams, who used to do what he damn well pleased. The songs just aren't very memorable, and the performances are restrained to the point of laziness. It is ironic that this is probably the most organic Williams album in terms of straight-ahead recording techniques and instrumentation, but it still sounds the most devoid of energy and passion.
Nevertheless, there are a still a few classic Williams songs. The best is undoubtedly 'Tripping,' which features a cool little Williams falsetto melody, as well as a pulsating disco beat and a great set of sarcastic lyrics: "first they ignore you/ then laugh at you and hate you/ then they fight you/ then you win." Also good is 'Ghosts,' which has a catchy chorus, and some cool sounding backing vocals (is it just me, or is there a subtle sample of David Bowie's voice in the background?). The country-flavored ballad 'Make Me Pure' is also a winner, in which Williams sings "lord make me pure, but not just yet" in a typically apologetic-but-cheeky manner. A well-written tune, that one is. The haunting closing ballad 'King Of Bloke and Bird' is also a decent enough track, even if it takes a few spins before its appeal becomes apparent.
Unfortunately, the rest of the album fails to make a lasting impression (apart from the appallingly blatant plagiarism of Elton John's 'Saturday Night's Alright For Fighting' on 'A Place To Crash,' that is). You know, it's strange, but it seems as though this is the first Williams album that most music critics/ rock snobs have actually respected, and have sometimes even gone out of their way to praise. I suppose that people put off by his arrogant buffoonery in the past may find this sanitized version of Robbie more acceptable, more palatable even. But not me. It's almost as if he woke up one morning and completely forgot what it is that used to make him so great: the quirky wit, the cheeky delivery, the irreverence, and the dramatic swings from egotism to despair have all seemingly disappeared. What we get instead is a sedated, more measured version of Williams, which to my ears is not as interesting to listen to. Hopefully Williams will swallow his pride and ask Guy Chambers to come back before it's too late.
RATING: 0
PLAY THESE: everything
SKIP THESE: everything
This is the worst shit I've ever heard in my life. I honestly can't understand what happened to Robbie Williams here. Sure, Robbie was heading towards blandsville with Intensive Care, but the new album Rudebox is baffling in its faggy, my-anus-hath-seen-more-penises-than-thou 80's retro synth pop shtick. I really, truly despise this album. I am not exaggerating when I claim that Rudebox is the worst album ever made. Can I give a rating of minus one? Can I bend the rules? It certainly deserves it, but a zero it will have to be be. The album's selling well now, 'cause Robbie is such a big star that fans will buy anything that has his name on it. But it is so clear that this is complete and utter shite, and his next album is going to see a HUGE drop in sales. It is ironic that this is the first Robbie album that most music critics have declared to be excellent. He's making shit music now, but he's being praised by critics for forsaking the good music of the past. Idiots.
There are no good songs on this album. Every single one of them is terrible. When I first heard the stupid Justin Timberlake 'Sexyback'-soundalike single 'Rudebox' I though it was the worst thing I'd heard in a while, but it turns out that it's actually the best song on the album. Things really are that bad. 'Bongo Bong-Je Ne T'aime Plus' is every bit as retarded as its title would suggest. 'She's Madonna' is an unimaginative gay dance pop tribute to that unimaginative whore of 80's gay dance pop, the Material Girl. The Pet Shop Boys (no, say it ain't so!) make an appearance. Robbie covers a Human League tune (wow, I'm so impressed). There's even a crappy short "song" called - wait for it - 'Dickhead,' which is lazily tacked on the end of the CD. I just don't have the patience to listen to this album more than once. I know it isn't going to grow on me, so what's the point? Basically, if you like real music even just a little bit, you will not like this CD. I guess if you frequent gay discos, this one might tickle your pickle, but if you aren't into fisting or choo-choo trains this might not be the album for you. The production is pure generic 80's Casio synthesizer-driven pop, the songwriting is embarrassing, the singing (and especially the rapping) is dreadful, and you can tell that Robbie has lost touch with reality. Sure, he couldn't go on making 'Angels' sound-alike's forever, but there must be a way to transfer the quality of his past work into a new musical direction. Pfft.