Robbie Williams | ||
| Allmusic Biography : From teen idol to international headliner, English singer/songwriter and consummate showman, Robbie Williams graduated from late-90s boy band Take That to become a successful solo artist, embracing a mischievous bad boy image while becoming one of the U.K.s most prominent entertainers and one of the best-selling artists of all time. Following his stint with Take That -- during which time Williams and his bandmates issued three multi-platinum hit albums -- his star shined even brighter, with a string of chart-topping albums and sales that surpassed Take That by a wide margin. Setting the stage with his 1997 debut Life Thru a Lens, Williams scored the first of many hit singles with the soaring "Angels," an enduring U.K. staple that became his breakthrough worldwide hit. Sophomore release Ive Been Expecting You was a career peak for the showman, certified ten-times platinum and breaking him into new markets with the timely "Millennium." With each successive album, Williams remained at the top of the album charts, accumulating number one singles such as "Rock DJ," "Somethin Stupid," and "Candy," which carried him into the 2010s. Born Robert Peter Williams in 1974, he grew up loving football and stage performance, balancing the two during his childhood in Stoke-on-Trent. When he was just 16, he was recruited as the youngest member of the boy band Take That. Roguish and more charming than the rest, he was a distinctive standout in the quartet. He also fought regularly with the other members and their management, primarily because he was occasionally averse to being so heavily packaged. So it didnt come as a surprise that he was the first to leave the band, departing early in the summer of 1995 to pursue a solo career (by some accounts, he was fired from the group). Although he was the first out of the gate, it took Williams a while to get started. For most of 1995, he attempted to boost his credibility by tagging along with Oasis, hoping that Noel Gallagher would give him a couple of songs. He never did, but all of his time with Oasis launched Williams into a world of heavy partying, drinking, and drugging. Over the course of 1996, he became a tabloid fixture in the U.K. Occasionally, he was quoted as saying his new music would abandon lightweight dance-pop for traditional Brit-pop, but his first single was a cover of George Michaels "Freedom 90." Released late in 1996, the single failed to gain much traction, but his second attempt, 1997s "Old Before I Die," was more in the vein of his early pronouncements, featuring a distinct Oasis influence. Williams finally released his first solo album, Life Thru a Lens, in 1997. Boosted by the international success of the single "Angels," the album became a big hit in Britain, prompting his second, Ive Been Expecting You, to go multi-platinum upon its release in 1998. (The Ego Has Landed, a U.S.-only compilation designed for breaking Williams to American audiences, was released stateside in the spring of 1999.) Sing When Youre Winning followed in late 2000, gaining success with the video hit "Rock DJ," while a big-band album of standards (Swing When Youre Winning) appeared a year later. By this point, Williams had become one of Europes premier pop stars, known for his headline-grabbing behavior as much as his hit-studded albums. Moreover, his solo work had sold far more copies than his work with Take That. In 2002, Williams celebrated an enormous new contract with EMI (rumored to be upwards of 80 million dollars), but suffered the loss of his longtime production partner Guy Chambers. Escapology, the fifth Robbie Williams album (and the last to include Chambers input), sold millions of copies in Europe, though it failed to persuade American audiences. As a result, the 2003 concert record Live at Knebworth wasnt released in the States. He introduced a new musical partner, Stephen Duffy, with a pair of songs from his compilation Greatest Hits, and he reappeared in 2005 with Intensive Care. Although the album topped charts in Europe and helped Williams set an impressive concert record -- his 2006 record-breaking world tour sold over one-and-a-half-million tickets in one day -- a certain creative atrophy was setting in, despite the new input from Duffy. Within a year, he had recorded and released Rudebox, a dance album recorded with half-a-dozen outside producers, some featured guests, and several covers instead of self-penned material. Rudebox hit number one across Europe but only went double platinum in the U.K., becoming his lowest-selling studio album to date. Accordingly, Williams next album -- the 2009 release Reality Killed the Video Star -- found him returning to the sound of his older albums, with the Buggles Trevor Horn handling all production duties. Reality was Williams only album not to top the U.K. album chart, bested by the trio JLS. The following year, most news of Robbie Williams surrounded his reunion with Take That, which took the form of a new album, Progress, plus a few new songs recorded with bandmate Gary Barlow that were released on a new Williams hits collection, In and Out of Consciousness: Greatest Hits 1990-2010. Barlow also figured in the writing and production of the ninth Robbie Williams studio album, Take the Crown, released in late 2012. Produced by Williams alongside Jacknife Lee (Snow Patrol, R.E.M., Bloc Party), the album saw Williams return to the eclectic pop sound of his earlier work, with a trailer single ("Candy") written by Williams and Barlow. The single reached number one across Europe, including the U.K., as did the album, which was certified platinum. For his next release, Williams worked with Guy Chambers again on his second swing album, Swings Both Ways, which comprised a mix of standards and originals. Released in late 2013, it featured a variety of guests including Lily Allen, Olly Murs, Rufus Wainwright, Kelly Clarkson, and Michael Bublé. Williams spent the next few years relatively quietly, settling into family life with his wife Ayda Field and their two children, and releasing only an oddsnsods collection (Under the Radar, Vol. 1) in late 2014. He returned to the pop realm in late 2016 with the release of his 11th LP The Heavy Entertainment Show, which featured production by Guy Chambers and Richard Flack, as well as songwriting contributions from the likes of the Killers, Stuart Price, and Rufus Wainwright. Entertainment became his 12th U.K. chart-topper, making him the most successful U.K. solo act in chart history upon its release. In the summer of 2018, Williams performed at the FIFA World Cup opening ceremony, issuing Under the Radar, Vol. 2 a month later. He also joined the judges panel for the 15th season of the U.K. X Factor. A third entry to his non-album compilation series Under the Radar arrived in 2019. | ||
 | Album: 1 of 21 Title: Millennium Hits Released: Tracks: 19 Duration: 1:18:37 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Millennium (04:06) 2 Better Man (03:21) 3 No Regrets (05:11) 4 Strong (04:39) 5 Supreme (04:16) 6 Angels (04:25) 7 If It’s Hurting You (04:10) 8 Singing for the Lonely (04:31) 9 Forever Texas (03:37) 10 Shes the One (04:20) 11 The Road to Mandalay (03:57) 12 Ser Mejor (03:30) 13 Angels (04:25) 14 Pepsi (03:54) 15 Win Some Lose Some (04:18) 16 Its Only Us (02:51) 17 Eternity (05:00) 18 Toxic (03:50) 19 Let Me Entertain You (04:09) |
 | Album: 2 of 21 Title: The Ego Has Landed Released: 1997 Tracks: 14 Duration: 1:09:51 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Lazy Days (03:54) 2 Millennium (04:06) 3 No Regrets (05:11) 4 Strong (04:39) 5 Angels (04:25) 6 Win Some Lose Some (04:18) 7 Let Me Entertain You (04:22) 8 Jesus in a Camper Van (03:38) 9 Old Before I Die (03:53) 10 Killing Me (03:56) 11 Man Machine (03:35) 12 She’s the One (04:19) 13 Karma Killer (04:28) 14 One of Gods Better People / Hello Sir (15:02) |
| The Ego Has Landed : Allmusic album Review : Robbie Williams was an international superstar at the end of the millennium, a recognizable icon in all countries but one -- the United States. Traditionally, this is a problem for British superstars, who are able to amass a large global following but are hard pressed to break down the doors to America for a variety of reasons, many of which are inexplicable. For Williams, it was because his records werent released in the U.S., probably because his former band, Take That, never developed into a commercial powerhouse in America. Once the group split, conventional wisdom suggested that lead singer Gary Barlow would become the star, but after Williams delivered back-to-back smashes (Life Thru a Lens, Ive Been Expecting You), he seemed like the genuine star. It was time for America to become acquainted with the lovable rock & roll rascal, hence the brilliantly titled The Ego Has Landed. Containing six songs from Life and eight from Ive Been, The Ego Has Landed isnt a perfect compilation, but its not half bad either. Since its culled from just two records, it doesnt have great momentum or pacing, but it does contain a very good cross section of his two albums, leaning a little toward the mid-tempo and ballad side. The pacing is a little off, but the songs are there: the clever showmanship of "Let Me Entertain You," the endearingly silly "Old Before I Die," the crooning "No Regrets," the propulsive "Man Machine," and "Millennium," Willliams bid for sampadelic hipness -- everything that illustrates why he is a perfect post-alternative, post-Brit-pop, post-ironic pop star. | ||
 | Album: 3 of 21 Title: Life Thru a Lens Released: 1997-09-10 Tracks: 11 Duration: 52:45 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Lazy Days (03:54) 2 Life Thru a Lens (03:07) 3 Ego a Go Go (03:34) 4 Angels (04:25) 5 South of the Border (03:53) 6 Old Before I Die (03:53) 7 One of God’s Better People (03:33) 8 Let Me Entertain You (04:22) 9 Killing Me (03:56) 10 Clean (03:55) 11 Baby Girl Window / Hello Sir (14:10) |
| Life Thru a Lens : Allmusic album Review : One of the best U.K. debuts of the 90s, Life Thru a Lens is an uninhibited joyride through all manner of British music, from glam to alternative to soft-rock to dance-pop. Beginning with the joyous "Lazy Days," the album continually betrays overt influences from Oasis and other Britpop stars, but triumphs nevertheless due to gorgeous production, Williams irresistible personality, and the overall flavor of outrageous, utterly enjoyable pop music. Whether hes romping through aggressive burners like "Ego A Go Go" and "South of the Border," crooning on the ballad "Angels," or offering a slice of life -- working-class style -- on the title track and "Lazy Days," Williams is a pop star through and through. For those who appreciate great pop with plenty of cheek, Life Thru a Lens is an excellent album. | ||
 | Album: 4 of 21 Title: I’ve Been Expecting You Released: 1998-10-26 Tracks: 12 Duration: 1:16:03 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Strong (04:39) 2 No Regrets (05:11) 3 Millennium (04:06) 4 Phoenix From the Flames (04:02) 5 Win Some Lose Some (04:18) 6 Grace (03:13) 7 Jesus in a Camper Van (03:39) 8 Heaven From Here (03:05) 9 Karma Killer (04:28) 10 She’s the One (04:19) 11 Man Machine (03:35) 12 These Dreams / Stand Your Ground / Stalker’s Day Off (31:24) |
| I’ve Been Expecting You : Allmusic album Review : A more mature, calculated album from a pop star whos often gloried in being immature and spontaneous, Ive Been Expecting You may suffer from comparisons to its excellent predecessor, but it also finds Robbie Williams weathering the sophomore storm quite well. While Williams debut was infectious and outrageous, the second is indeed a more studied album. The opener, "Strong," begins very well, with the spot-on lyrics: "My breath smells of a thousand fags/And when Im drunk I dance like me Dad," and "Early morning when I wake up/I look like Kiss but without the makeup." Many of the tracks on Ive Been Expecting You show an undeniable growth, both in songwriting and in artistic expression; two of the highlights, "No Regrets" and "Phoenix From the Flames," are sensitive, unapologetically emotional songs that may not be as immediately catchy as those on his debut, but pack a greater punch down the road. Williams does indulge his sense of fun occasionally, playing up James Bond during the transcontinental hand-waver "Millennium" (which samples Nancy Sinatras theme for You Only Live Twice), and simply roaring through "Win Some Lose Some" and "Jesus in a Camper Van." | ||
 | Album: 5 of 21 Title: Sing When You’re Winning Released: 2000-08-21 Tracks: 11 Duration: 47:37 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 Let Love Be Your Energy (04:59) 2 Better Man (03:21) 3 Rock DJ (04:17) 4 Supreme (04:16) 5 Kids (04:47) 6 If It’s Hurting You (04:10) 7 Singing for the Lonely (04:31) 8 Love Calling Earth (04:05) 9 Knutsford City Limits (04:45) 10 Forever Texas (03:37) 11 By All Means Necessary (04:45) |
| Sing When You’re Winning : Allmusic album Review : Poised for global domination with his third album, Robbie Williams and producer Guy Chambers hardly dared mess with the formula of their 1998 crossover hit Ive Been Expecting You. As such, Sing When Youre Winning has plenty of introspective balladry akin to "Angels," and a few irresistible party time tracks in similar company to "Millennium." The album also moves Williams farther away from the increasingly dated visions of Oasis-style Brit-pop to embrace post-millennial dance-pop, complete with the bruising beats and extroverted productions to match. And Chambers certainly knows his production playbook well, conjuring a panoply of classic British rock touchstones like psychedelia, slick country-rock, Ian Dury, the Who, Elton John, and Madchester. Despite a small drop in songwriting from its predecessor, Sing When Youre Winning ultimately succeeds, and most of the credit must go to Williams himself. Amidst a few overly familiar arrangements and lyrical themes, Williams proves the consummate entertainer, delivering powerful, engaging vocals -- no matter the quality of the material -- and striking the perfect balance between tongue-in-cheek, self-mocking humor ("Knutsford City Limits") and genuine feeling (tender ballads like "Better Man" and "If Its Hurting You"). The radio-ready single "Rock DJ" is a piece of immediately gratifying pop candy floss with a surprisingly endless shelf life, though "Kids," a vivacious, vacuous vamp of a duet with Kylie Minogue, doesnt even hold its own after one listen. Toss in a few beautiful album tracks (the opener "Let Love Be Your Energy," "Love Calling Earth," "Singing for the Lonely"), but then counter them with a few bland singalongs ("Supreme," "Forever Texas"), and the result is a scattered, entertaining album whose real star is Robbie Williams personality. | ||
 | Album: 6 of 21 Title: Swing When You’re Winning Released: 2001-11-19 Tracks: 15 Duration: 1:13:58 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 I Will Talk and Hollywood Will Listen (03:17) 2 Mack the Knife (03:18) 3 Somethin’ Stupid (02:51) 4 Do Nothin’ ’Till You Hear From Me (02:58) 5 It Was a Very Good Year (04:28) 6 Straighten Up and Fly Right (02:36) 7 Well, Did You Evah! (03:50) 8 Mr. Bojangles (03:17) 9 One for My Baby (04:17) 10 Things (03:22) 11 Ain’t That a Kick in the Head (02:27) 12 They Can’t Take That Away From Me (03:07) 13 Have You Met Miss Jones? (02:33) 14 Me and My Shadow (03:16) 15 Beyond the Sea (28:14) |
| Swing When You’re Winning : Allmusic album Review : 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 Youre 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 isnt afraid to wear his heart on his sleeve; in fact, hes 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 shouldnt be surprising that Swing When Youre 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 Darins). 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 Cant 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 Sinatras 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. Hes 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). Lovitzs rounded tones and faux-affected airs are a spot-on interpretation of Brother Cros, while Williams emulation of a boorish lug ("Thats a nice dress -- think I could talk her out of it?") is nearly perfect as well. Though arranger Steve Sidwell hasnt 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 Britains biggest pop star. It could happen, too; Pierce Brosnan surely isnt growing any younger. | ||
 | Album: 7 of 21 Title: Escapology Released: 2002-11-18 Tracks: 14 Duration: 1:02:08 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic Wikipedia AlbumCover | 1 How Peculiar (03:13) 2 Feel (04:23) 3 Something Beautiful (04:48) 4 Monsoon (03:46) 5 Sexed Up (04:21) 6 Love Somebody (04:10) 7 Revolution (05:44) 8 Handsome Man (03:56) 9 Come Undone (04:38) 10 Me and My Monkey (07:12) 11 Song 3 (03:50) 12 Hot Fudge (04:08) 13 Cursed (04:01) 14 Nan’s Song (03:52) |
| Escapology : Allmusic album Review : With the news that Escapology would be the last Robbie Williams album recorded with producer/songwriter phenom Guy Chambers, fans began to wonder whether one of Britains most durable pop forces would execute a disappearing act from the charts with a single album. Unfortunately, Escapology makes it sound as though Chambers has already left. Backed by stale songs, formulaic arrangements, and mediocre songwriting, Williams is forced to rely on his volcanic personality to bring this album across -- and despite a few strong performances, he sinks into lame self-parody time and time again. Its nearly impossible to reflect seriously on themes hes already broached several times before, as often happens here; "Feel" and "Love Somebody" are the usual looking-for-love songs, the latter with a set of trite lyrics cribbed from 30 years of rock & roll: "Always and forever, is forever young/Your shadow on the pavement, the dark side of the sun/Gotta dream the dream all over and sleep it tight/You dont wanna sing the blues in black and white." The Oasis flag-waver "Something Beautiful" finds Williams trying to keep on despite being tired with the modern world, while "Monsoon" and "Handsome Man" chart the usual celebrity regrets with an odd sense of arrogance and self-deprecation that isnt half as interesting at this point in his career as before. The highlights here are songs that barely wouldve made it onto Sing When Youre Winning (much less his first two albums), and the sound is MOR throughout. Robbie Williams has never been an innovative artist, but previously his strong delivery and sly, ironic wit -- along with savvy production and songwriting -- kept any glimpse of cheese at bay. Escapology shows hes unable to avoid the trap. | ||
 | Album: 8 of 21 Title: Live at Knebworth Released: 2003-09-24 Tracks: 14 Duration: 1:12:35 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia AlbumCover | 1 Let Me Entertain You (05:55) 2 Let Love Be Your Energy (04:44) 3 We Will Rock You (01:19) 4 Monsoon (05:09) 5 Come Undone (05:34) 6 Me and My Monkey (07:20) 7 Hot Fudge (05:45) 8 Mr. Bojangles (05:25) 9 Shes the One (05:43) 10 Kids (07:21) 11 Better Man (02:11) 12 Nans Song (04:51) 13 Feel (05:17) 14 Angels (05:55) |
 | Album: 9 of 21 Title: Greatest Hits Released: 2004-10-15 Tracks: 19 Duration: 1:19:34 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Old Before I Die (03:54) 2 Lazy Days (03:55) 3 Angels (04:25) 4 Let Love Be Your Energy (04:06) 5 Millennium (03:45) 6 No Regrets (04:43) 7 Strong (04:19) 8 Shes the One (04:21) 9 Rock DJ (04:17) 10 Kids (04:20) 11 Supreme (04:16) 12 Let Me Entertain You (04:24) 13 Eternity (05:02) 14 The Road to Mandalay (03:19) 15 Feel (03:41) 16 Come Undone (03:54) 17 Sexed Up (04:10) 18 Radio (03:52) 19 Something Beautiful (Solo NellEdizione Giapponese) (04:47) |
| Greatest Hits : Allmusic album Review : A near-perfect look at the career of Britains brightest singles artist during the late 90s and early 2000s, Robbie Williams Greatest Hits chronologically consolidates Williams canon of Top Tens -- 19 of them in all, as of its release in late 2004. (Not all of his Top Ten singles are present, since the disc closes with a pair of new songs.) In the late 90s, Robbie Williams proved that a pop artist with a dodgy artistic background -- witness his membership in Take That -- was still capable of joining the long line of British artists (T. Rex, Madness, Pet Shop Boys, Blur) who completely embraced danceable pop music without selling their souls in the bargain. Williams biggest up-tempo hits, "Millennium" and "Rock DJ," were loved by middle-aged housewives and young teens alike (slightly less so by the latter, of course). Sugary and infectious but not disposable, they were made-to-order as great radio product, an art increasingly being lost. And as shown by "Angels," the biggest hit of his career, Williams also had a winning way with balladry. He also forged a comfortable performing personality via his excitable, self-effacing cad who takes himself far too seriously and can get intensely emotional every now and then, but is usually good for a laugh. (See "Strong" for the details.) The two new tracks introduce Stephen Duffy -- an original member of Duran Duran who later made his own name in the Lilac Time -- as the replacement for Guy Chambers as Williams new producer/songwriter/contributor (of course, the two songs, "Radio" and "Misunderstood," cant help but sound weak in this context). Despite pop fans being sick of his omnipresence in British pop culture, history will likely be kind to Robbie Williams. After all, would a disposable pop artist quote Latin on the back of a CD booklet? (Granted, in typical Robbie fashion the epigraph translates as, "If it has tits or wheels, it will make life difficult.") | ||
 | Album: 10 of 21 Title: Intensive Care Released: 2005-10-20 Tracks: 12 Duration: 53:02 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Ghosts (03:42) 2 Tripping (04:36) 3 Make Me Pure (04:33) 4 Spread Your Wings (03:50) 5 Advertising Space (04:37) 6 Please Dont Die (04:47) 7 Your Gay Friend (03:21) 8 Sin Sin Sin (04:09) 9 Random Acts of Kindness (04:15) 10 The Trouble With Me (04:20) 11 A Place to Crash (04:34) 12 King of Bloke & Bird (06:13) |
| Intensive Care : Allmusic album Review : Despite his constant self-deprecation, Robbie Williams is a shrewd artist, one who can tell when a change is in order. Its impossible to tell if he would have agreed to continue working with producer Guy Chambers had Chambers not been forced out of the chair by money matters, but Williams lost little time in finding another creative partner. Stephen Duffy may not be as fluent in the last 40 years of guitar pop as Chambers is, but he immediately announces a changing of the guard on the first track, "Ghosts," with his ringing guitar and keyboards. And it works, briefly. The trailer single, "Tripping," is a warm, clubby single that slightly resembles "Rock DJ" (and it is slight in comparison), but sounds like it could find a comfortable home on both adult alternative radio and the dancefloor. Williams goes for the jugular on "Spread Your Wings," an ambitious portrait of a lovers reunion (based, he says, on an alternate view of Human Leagues "Louise"). His lyrics, however, only sketch in the details, and Duffys arrangement is a pale shadow of a Smiths song from 20 years earlier. Its possible that the partnership of Duffy and Williams can still bear fruit, but it will require not only better music from Duffy, but far better performances from Williams, who delivers his lyrics as though, at this point, his performing personality can just be filled in by his fans. (Of course, personality was one trait never in short supply on previous albums.) He rarely even sounds like himself, instead choosing to channel his 80s heroes -- Bono, Morrissey, George Michael, even Tom Jones briefly. Its important to point out that since Intensive Care represents a new direction and a new sound, it is much more interesting than the creatively bankrupt Escapology. Still, nearly all of the qualities that made Robbie Williams interesting between 1995 and 2000 -- his irreverence, his biting wit, his status as the thinking mans conflicted hooligan -- are merely memories after Intensive Care. | ||
 | Album: 11 of 21 Title: Rudebox Released: 2006-10-23 Tracks: 16 Duration: 1:14:43 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Rudebox (04:45) 2 Viva Life on Mars (04:50) 3 Lovelight (04:02) 4 Bongo Bong / Je ne t’aime plus (04:48) 5 She’s Madonna (04:16) 6 Keep On (04:18) 7 Good Doctor (03:16) 8 The Actor (04:06) 9 Never Touch That Switch (02:46) 10 Louise (04:46) 11 Were the Pet Shop Boys (04:56) 12 Burslem Normals (03:50) 13 Kiss Me (03:16) 14 The 80s (04:17) 15 The 90s (05:33) 16 Summertime / Dickhead (10:53) |
| Rudebox : Allmusic album Review : The careers of most music celebrities are like passenger ships, able to steam along nearly indefinitely without the least chance of modifying course. With his work of the 21st century, Robbie Williams appeared to have set himself on a course that was guaranteed to keep him working for decades, remaining important to thousands of fans, but never varying from the type of adult alternative singer/songwriter material expected of him. Then came Rudebox, which proves hes not that simple -- or at least, not that satisfied with himself. It may be a good album because it says little about his inner life and emotional troubles, which are unceremoniously dropped in favor of hyper-sexualized or sarcastic dance music and ironic laugh-getters ("Make your body shake like you stood on a land mine," "Dance like you just won at the Special Olympics"). It may be a good album because it has some of the best productions of his career, usually amped-up electro-disco from the duo Soul Mekanik or goofy hip-hop soul from Mark Ronson (which makes him come across as Justin Timberlake at some points and Gnarls Barkley at others). Its certainly a good record in comparison to its two predecessors, which suffered from a lack of vitality. (For example, while 2005s Intensive Care desultorily attempted to rewrite the Human Leagues "Louise," Rudebox simply covers the song, with much more feeling.) Compared to Escapology and Intensive Care, Rudebox is not only loose and fun but, for the first time in Williams career, receptive to outside help; aside from the producers, Lily Allen and the Pet Shop Boys make appearances, and Robbie covers songs from Manu Chao, Lewis Taylor, Stephen Duffy, and the indie band My Robot Friend. Not that the record is perfect; in fact, it has a few of the most embarrassing moments in Williams career. The lyrics occasionally devolve into hip-hop nonsense ("Got no strings, but I think with my ding-a-ling/Wu-Tang with the bling-bling, sing a song of Sing Sing"). "The 80s" is even worse, a nostalgic but monotone rap that oddly balances adolescent trauma and pop culture ("Auntie Jo died of cancer/God didnt have an answer/Rhythm was a dancer"). Still, the next track after "The 80s" is "The 90s," a surprisingly bewitching chronicle of his boy-band years from 1990 to 1995. The fact remains that every track here is better and more interesting than anything from the previous two LPs, despite the occasional embarrassing couplet or misguided musical idea. | ||
 | Album: 12 of 21 Title: Reality Killed the Video Star Released: 2009-11-06 Tracks: 13 Duration: 51:28 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Morning Sun (04:07) 2 Bodies (04:03) 3 You Know Me (04:20) 4 Blasphemy (04:19) 5 Do You Mind? (04:06) 6 Last Days of Disco (04:50) 7 Somewhere (01:02) 8 Deceptacon (05:01) 9 Starstruck (05:21) 10 Difficult for Weirdos (04:29) 11 Superblind (04:46) 12 Won’t Do That (03:38) 13 Morning Sun (reprise) (01:24) |
| Reality Killed the Video Star : Allmusic album Review : Robbie Williams Rudebox was one of the most enjoyable records of his career, but it wasnt a commercial success. Its follow-up, Reality Killed the Video Star, attempts to right the ship, and as such, it becomes everything its predecessor was not. Recorded with a single producer, the estimable Trevor Horn, but encompassing songs and sessions with a variety of writing partners (Guy Chambers and Soul Mekanik, among others), the songs sound rushed and the performances lackluster. Given an MOR blockbuster production by Horn, and with arrangements by his longtime co-writer Anne Dudley, Reality Killed the Video Star certainly has the sound it needs to succeed with Williams aging audience and clean up on BBC Radio 2. Granted, Robbie Williams is an excellent ballads singer, well-suited for this grandiose backing, but unfortunately the lyrics dont stand up to the pressure. "Blasphemy" has the worst offenders, beginning with "Whats so great about the great depression?/Was it a blast for you? Cause its blasphemy." One song later, Williams declares "This is a song full of metaphors," then fills it with a chorus beyond mindless: "Do, ooh ooh, ooh, ooh ya mind/If I, I-I, I, I, I-I-I touch you?" At least the album is front-loaded with quality, beginning with "Morning Sun," the best and most deeply felt song on the album. Apparently written after the death of Michael Jackson, it begins with a classic example of the taken-two-ways lyric: "How do you rate the morning sun." Second is "Bodies," the first song to be released from the album, and its the last glimpse of clear quality and inventiveness on the entire album. Reality Killed the Video Star may not be a denouement for Robbie Williams; its not decidedly worse than 2002s Escapology, its just bad in a different way. Whereas Escapology found Robbie disappearing into his own neuroses, this one is a hopeless mélange of satire and sincerity where, from song to song, neither can immediately be distinguished. | ||
 | Album: 13 of 21 Title: In and Out of Consciousness: Greatest Hits 1990–2010 Released: 2010-10-08 Tracks: 57 Duration: 3:43:58 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Shame (04:00) 2 Heart and I (04:41) 3 Morning Sun (04:06) 4 You Know Me (04:20) 5 Bodies (04:03) 6 She’s Madonna (04:00) 7 Lovelight (04:02) 8 Rudebox (03:47) 9 Sin Sin Sin (04:03) 10 Advertising Space (04:37) 11 Make Me Pure (03:48) 12 Tripping (04:03) 13 Misunderstood (04:00) 14 Radio (03:51) 15 Sexed Up (04:10) 16 Something Beautiful (04:01) 17 Come Undone (03:54) 18 Feel (03:41) 19 Mr. Bojangles (03:18) 1 I Will Talk and Hollywood Will Listen (03:15) 2 Somethin’ Stupid (02:50) 3 The Road to Mandalay (03:18) 4 Eternity (05:00) 5 Let Love Be Your Energy (04:06) 6 Supreme (04:16) 7 Kids (04:19) 8 Rock DJ (04:17) 9 Its Only Us (02:51) 10 She’s the One (04:19) 11 Strong (04:19) 12 No Regrets (04:43) 13 Millennium (03:45) 14 Let Me Entertain You (04:22) 15 Angels (04:25) 16 South of the Border (03:53) 17 Lazy Days (03:54) 18 Old Before I Die (03:53) 19 Freedom (04:18) 20 Everything Changes (03:35) 1 Often (02:48) 2 Karaoke Star (04:07) 3 Toxic (03:49) 4 My Culture (03:41) 5 Nobody Someday (02:53) 6 Get a Little High (02:15) 7 One Fine Day (01:56) 8 Coffee, Tea & Sympathy (04:35) 9 Do Me Now (03:17) 10 The Postcard (03:02) 11 Meet the Stars (04:29) 12 Don’t Stop Talking (04:52) 13 Don’t Say No (04:06) 14 Lonestar Rising (03:52) 15 Lola (04:12) 16 The Only One I Know (03:57) 17 Elastik (04:36) 18 Long Walk Home (05:12) |
 | Album: 14 of 21 Title: Take the Crown Released: 2012-11-02 Tracks: 11 Duration: 43:45 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Be a Boy (04:39) 2 Gospel (04:25) 3 Candy (03:20) 4 Different (04:52) 5 Shit on the Radio (02:53) 6 All That I Want (03:30) 7 Hunting for You (03:58) 8 Into the Silence (04:48) 9 Hey Wow Yeah Yeah (02:52) 10 Not Like the Others (04:15) 11 Losers (04:09) |
| Take the Crown : Allmusic album Review : Robbie Williams self-described busmans holiday with Take That during 2010 may have put a hold on his solo career, but it also rejuvenated his creative instincts. When he returned to the studio without Barlow & co. (actually, Gary helped write and produce here), he decided to focus on what he does best: commercial pop music. This is pop music the way he used to create it in the 90s and 2000s, with songs either silly or serious, but always self-referential and knowing. On the surface, all of these songs could be middle-of-the-road hits, although most reveal lyrics that dig just a little deeper than chart fodder. This is a record capable of reaching both the cheap seats and the fans screaming at the front, with big hooks, unmissable melodies, and Williams by now trademarked brand of grandiose introspection and relationship examination. The trailer single "Candy" is a perfect example. A trite, uptempo track with a sing-song chorus but not much of a shelf life, its the perfect radio hit. A few other songs are more interesting, including "Gospel" and the banner-waving ballad "Different," with tighter productions and more substantial lyrics. "Shit on the Radio" is an interesting detour, typically self-referential and self-disparaging and all the while rather gleeful about it, in a fashion that only Robbie Williams can risk and succeed with. It all sounds like the work that a member of Take That would be doing in 2012, without Williams many hits of the past to draw on for setting expectations high. Take the Crown features Robbie doing what Robbie does best -- writing and performing effortless pop music -- but not at his best. | ||
 | Album: 15 of 21 Title: Live at the O2: 24.11.2012 Released: 2012-11-24 Tracks: 23 Duration: 1:45:54 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Hey Wow Yeah Yeah (01:50) 2 Let Me Entertain You (03:46) 3 Lazy Days (03:22) 4 Karma Killer (04:00) 5 Candy (03:53) 6 Rock DJ (04:31) 7 Gospel (04:34) 8 Monsoon (05:20) 9 Eternity (05:41) 10 Mr. Bojangles (04:08) 11 Shes the One (03:15) 1 Be a Boy (06:30) 2 Come Undone (04:35) 3 Bodies (03:49) 4 Feel (04:17) 5 Not Like the Others (04:15) 6 Millennium (03:32) 7 Hot Fudge (03:48) 8 Kids (04:56) 1 Strong (07:37) 2 Different (05:07) 3 Angels (07:58) 4 Losers (05:00) |
 | Album: 16 of 21 Title: Swings Both Ways Released: 2013-11-15 Tracks: 16 Duration: 56:24 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Shine My Shoes (03:23) 2 Go Gentle (04:31) 3 I Wan’na Be Like You (03:31) 4 Swing Supreme (03:17) 5 Swings Both Ways (03:58) 6 Dream a Little Dream (03:33) 7 Soda Pop (03:19) 8 Snowblind (03:19) 9 Puttin’ On the Ritz (02:32) 10 Little Green Apples (03:16) 11 Minnie the Moocher (03:41) 12 If I Only Had a Brain (03:52) 13 No One Likes a Fat Pop Star (02:52) 14 Where There’s Muck (04:09) 15 16 Tons (02:36) 16 Wedding Bells (04:35) |
 | Album: 17 of 21 Title: Under the Radar, Vol 1 Released: 2014-12-08 Tracks: 14 Duration: 55:38 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia AlbumCover | 1 Bully (03:20) 2 Raver (03:55) 3 H.E.S. (03:39) 4 The Edge (04:08) 5 All Climb On (04:36) 6 Surrender (04:05) 7 Love Is You (03:45) 8 The Cure (04:11) 9 The Pilot (03:51) 10 The BRITs (04:50) 11 National Treasure (04:29) 12 Super Tony (03:24) 13 Greenlight (03:35) 14 Bullet (03:50) |
 | Album: 18 of 21 Title: Let Me Entertain You Tour Live: The Best of Paris Released: 2015-04-01 Tracks: 22 Duration: 1:41:49 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Let Me Entertain You (05:06) 2 Rock DJ (04:47) 3 Monsoon (04:11) 4 Tripping (04:32) 5 Royals / Bodies (06:34) 6 Road to Mandalay (05:02) 7 Minnie the Moocher (04:38) 8 Swing Supreme (04:21) 9 Ignition (02:17) 10 Shout (02:21) 11 H.E.S. (03:40) 12 Motherfucker (04:10) 13 Better Man (03:29) 14 We Will Rock You I Love Rock N Roll (03:05) 15 No Regrets (05:50) 16 Come Undone (05:59) 17 Candy (05:28) 18 Feel (04:29) 19 Millennium (03:22) 20 Kids (06:05) 21 Bohemian Rhapsody (06:23) 22 Angels (06:00) |
 | Album: 19 of 21 Title: The Heavy Entertainment Show Released: 2016-11-04 Tracks: 11 Duration: 40:02 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Heavy Entertainment Show (03:23) 2 Party Like a Russian (03:02) 3 Mixed Signals (03:59) 4 Love My Life (03:28) 5 M**********r (04:18) 6 Bruce Lee (03:13) 7 Sensitive (03:16) 8 David’s Song (04:14) 9 Pretty Woman (02:56) 10 Hotel Crazy (04:25) 11 Sensational (03:48) |
| The Heavy Entertainment Show : Allmusic album Review : Establishing himself as the last of a particular breed, Robbie Williams makes his pop comeback on The Heavy Entertainment Show. Aptly titled, Williams is entertaining as ever, a consummate showman until the end. The album is a grab bag of ideas, darting here and there in its pursuit of a hit. However, this isnt too much of a distraction. Mr. Entertainment and his bombast do not disappoint. The Heavy Entertainment Show is his most invigorated album in years, a truer return to the pop realm than 2012s Take the Crown. Here, Williams dresses up his antics in expert production with plenty of cheekiness to spare. As the show begins, Williams announces "the charismas non-negotiable" and "Im about to strip and youre my pole." Hes cocky, crass, and utterly engaging as a chorus of backup singers add, "He would sell his children for a hit in Belgium!" Few pop stars can pull this off, yet from Williams, its almost comforting to see him once again embrace his braggadocious ringmaster persona. Longtime producer Guy Chambers makes his return to Williams circus, along with a number of high-profile guests. The Killers-penned "Mixed Signals" is an open-road epic that sounds like a Battle Born castaway, while Ed Sheeran and Benny Blanco join forces for the stomp-twang Avicii-lite "Pretty Woman." Rufus Wainwright contributes songwriting and his velvety voice to a trio of brassy tunes, kick-stepping alongside Williams on the aforementioned title track, as well as "Hotel Crazy" and the grand outro "Sensational." "Davids Song" -- penned by Jewel and Kara DioGuardi -- is a heart-rending soft rock ballad that overwhelms with a powerful closing guitar solo and orchestral swell. However, its producer Stuart Price who proves most valuable. In addition to the Killers track, he injects the album with a pair of addictive standout synth numbers. Highlight "Bruce Lee" is a Bowie-stomping glam number that struts its way through the pack, while "Sensitive" amps up the sensuality with echoing synths, handclaps, and juicy bass. Elsewhere, there are a couple love-or-hate tracks that stick out. The Prokofiev-sampling lead single "Party Like a Russian" -- which sounds like something Muse would use to dramatically start a show -- is big on drama and creativity, but might rub some listeners the wrong way with its cultural generalities. Meanwhile, the boldly titled "Motherfucker" seems like its trying a little too hard to shock, yet its the finest example of Williams schtick. A heartwarming dedication to his young son, it is ridiculous yet completely uplifting. As it explodes into a guitar-drenched Oasis B-side, Williams recites a litany of family woes that could affect his offspring. Itll make grandma blush, but at the heart of it all, hes confident that his son will "break the chain" of sin. Despite that title and explicit lyrics, Williams allows some sincerity to shine through the sophomoric, remaining hilarious and full of heart. Eleven albums in and hes still one of the most likable acts around, truly one of a kind. | ||
 | Album: 20 of 21 Title: Under the Radar, Vol 2 Released: 2017-11-30 Tracks: 15 Duration: 54:48 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Satellites (04:07) 2 9 to 5 (03:41) 3 Ms Pepper (04:02) 4 Bambi (03:22) 5 Eyes on the Highway (03:22) 6 Speaking Tongues (03:37) 7 Go Mental (03:28) 8 Run It Wild (03:42) 9 Numb (04:03) 10 Andy Warhol (04:00) 11 My Fuck You to You (03:42) 12 Weakness (04:15) 13 Booty Call (02:57) 14 On The Fence (03:06) 15 International Entertainment (03:24) |
 | Album: 21 of 21 Title: Under The Radar, Vol 3 Released: 2019-02-14 Tracks: 14 Duration: 52:06 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 The Impossible (04:36) 2 Gold (03:58) 3 Dirty Rotten (03:36) 4 Good People (04:30) 5 Indestructible (04:08) 6 Indestructible (Project Money remix) (03:11) 7 No F**Ks (03:35) 8 Underkill (03:36) 9 Bye Bye (03:40) 10 Reality Killed the Video Star (03:30) 11 I Just Want People to Like Me (03:15) 12 Hunting for You (acoustic) (03:35) 13 Into the Silence (Ambient mix) (04:14) 14 The National Anthem of Robbie (02:42) |