да ладно, вам, ссориться из-за ерунды. я вообще Робби не люблю )

впечатляющая рецензия. сорри, что не перевожу, времени не хватает

Progress - Album review

If in the year 3000 the musical historians and documenters of popular culture were to cover the period of Rock n Roll mythology circa 1960 to 2010 they would have many great artists and bands to feature and many great tales of excess to tell. From the drug induced deaths of Hendrix and Keith Moon to the sexual adventures of Jim Morrison. From Syd Barrett’s acid meltdown into hermetic lifestyle, Kurt Cobains failure to deal with the fame we all aspire to and subsequent suicide. Inter band squabbling and rivalries also provide great copy from the twin ego’s of Lennon and McCartney or Morrissey and Marr and the actual sibling rivalry of a band like Oasis. One band that the future generation probably wouldn’t touch upon is Take That, yet on the release of the years biggest album to date its time to take stock and realise that the journey they have taken from boys to men is an amazing story to rival any of the iconic figures of the past fifty years.

“Progress” is a great great record, and adult Rock/Pop album in the mould of U2 or Muse and with the glitter stomp swagger of T-Rex infused with the 80’s electro styling’s of artists like The Human League or The Pet Shop Boys. It’s an album that references it’s own story and is as far removed from the boy band they once were or the clichéd remarks about Ford Mondeo drivers people who haven’t heard the album like to band about.

Lets not forget Take That were five strangers, nay five teenagers who had never met before 1990 thrown together as a manufactured pop band and marketed at the gay clubs of Manchester, they were kids who made music for kids, in 2010 they are men who make albums for adults to love two entirely different bands and to judge the band on their past is to miss the point entirely. The fact the latter Take That exists is in itself a remarkable achievement in itself but look closer at the story and it’s even more so.

From 1992 to 1996 Take That were a genuine phenomenon, with a hysterical fan base the equivalent of Beatlemania, maybe more so as when they split their fans had to be consoled by specially set up hotlines. By this point they were a four piece having ousted Robbie Williams by mutual misunderstanding, Robbie was hanging with Oasis and Gary Barlow was almost dictorial in his ruling of the band. Williams then took ultimate revenge by becoming the UK’s biggest pop star whilst Barlow’s own solo career descended into an embarrassing joke. There was pure hatred and rivalry between the two of them played out in public that made the sibling squabbling of the Gallagher brothers look like two spoilt children in the playground and Robbie was clearly the ultimate victor over his former band.

Then in 2006 rising like a Phoenix from the flames Take That came back minus Robbie to once again become one of the UK’s biggest Pop acts winning Brit Awards and Ivor Novello’s along the way and their best ever song “The Greatest Day” sound tracking just about every reality TV show and sporting event you could name. Meanwhile Robbie’s own solo career had gone into a downward spiral, the “Rudebox” album of 2006 was a commercial flop and 2009’s “Reality Killed The Video Star” was a half hearted will this do type of album. He’d also had enough of the public eye becoming a virtual recluse and having suffered major solvent abuse problems and manic depression/mental breakdowns, a Rock n Roll meltdown to rival Keith Moon whilst at the same time being perceived as an ego maniac and playing to the cameras whilst inside slowly breaking.

It’s now remarkable and beneficial to both Take That and Robbie that Barlow and Williams sat in a room together and kissed and made up like the grown men they now are. Theirs is in many ways a genuine love story of two close friends that had issues with each other. If the Gallagher brothers had shown this level of maturity the world wouldn’t have to had suffer the monstrosity that is the Beady Eye single. Take That need Robbie Williams and Robbie Williams needs Take That, it’s as simple as that.
And the album they have made together is an energetic celebration of all things that have gone before and all things that might still be.

From the grandiose stadium rock of “The Flood” to the heartfelt almost ballad that is “Eight Letters” that is the story of Take That itself, this is a genuinely brilliant record. “SOS” sounds like The Killers if Brandon Flowers allowed himself sunny delight instead of naval gazing introspection. “Pretty Things” recalls The Human League with it’s Casio keyboard intro and softly delivered vocal from Williams. Mark Owen deals with his own demons on two tracks the Muse like “Kidz” and an open letter to his wife to forgive his recent intercessions on “What Do You Want From Me”.

“Underground Machine” sees everyone trading vocals to a disco stomper that sounds like Dead or Alive’s 1985 #1 hit “You Spin Me Round”. Howard Donald takes lead vocals on “Affirmation” to remind the listener that all this isn’t just about Robbie and Gary but in truth it really is. And that’s a fact underlined by Take That’s greatest moment, and in keeping with the remarkable story that is this journey the best track on the album isn’t even credited, its hidden away 25 seconds after “Eight Letters” supposedly closes the album.

“Flowerbed” if played to an unsuspecting listener doesn’t sound like any song Take That have ever released, its got an Elbow like intro if Elbow were in fact influenced by avant garde composers like Phillip Glass or Vangelis before a dreamlike vocal laments the bands story in Brokeback Mountain fashion but without sounding trite at all. The haunting backing track reminds of “Life In A Northern Town” by Dream Academy and that fact is drilled home when the closing echoes of the song end like The Beatles “ a day in the life”, it’s a genuinely moving song that illustrates the confidence Take That now hold by tucking it away hidden as a treasure locket for the fans to discover.

To Quote a lyric from the album “Eight letters, three words one meaning”, well that’s I love You, and its also “Progress”. Put the two together and you have one of the best comeback records of all time.

Rating: ****

misformusic.com

Отредактировано Better Man (16.11.2010 11:46)

Юль, спасибо )

кстати, эту песню Робби написал

Джейсон?) а рзве не Гари ее поет?
а, стой, в фильме что-то про это рассказывается? я просто так и не посмотрел

кстати, а выкладывали уже iTunes издание?

http://krixx.ru/music/take-that-progress-i...e-version-2010/

01. Take That - The Flood
02. Take That - SOS
03. Take That - Wait
04. Take That - Kidz
05. Take That - Pretty Things
06. Take That - Happy Now
07. Take That - Underground Machine
08. Take That - What Do You Want From Me?
09. Take That - Affirmation
10. Take That - Eight Letters
11. Take That - Flowerbed (Bonus Track)
12. Take That - Progress in Action (Video)
13. Take That - The Flood (Music Video)

да он вчера был ) правду ты уже никогда не узнаешь )

да все, Миш) он вчера и только вчера был, больше его не покажут

ща создам тему во встречах

для этого нужно скачать ) я качать не стал

все тексты альбома:
http://www.robbiewilliams.com/forum/showpo...781&postcount=1

молодец =) давай приезжай, на концерт успеешь

Со понедельника альбом на Амазоне буде стоить...1 фунт!!! Вот и куплю))

Отредактировано Better Man (20.11.2010 03:55)

ой, кстати. хороший вопрос. завтра уточню

а пока тексты всех песен альбома:
http://www.robbiewilliams.com/forum/sho … php?t=6937