don't call it a comeback

Robbie Williams must find himself at a bit of a crossroads at the moment. One one hand, he's had a stellar career up to this point. On the other, after "Rudebox", which I thought was more brilliant than many others did, and an unexpected second wind for his former group, Take That, he must have had moments of doubt regarding his next musical move.

Years from now, after a bit of distance, I think "Rudebox" will garner more appreciation for two reasons. Firstly, it was a brave direction for Robbie when so many people kept wanting him to regurgitate "Angels" ad infinitum. Secondly, the album was one of the first to embrace the then oncoming wave of electro which has been fully realized by Lady Gaga, La Roux, et al.

After a three year hiatus, one which saw his former group, Take That, unexpectedly rise like the phoenix from the ashes to become one of Britain's most beloved institutions, Robbie might find that his stroppy attitude, which was once charming and endearing, is now childish and unbecoming for a man in his mid 30s. Funny how the tables turn.

So here he is with his eighth, solo longplayer,"Reality Killed The Video Star". The sleeve has an uneasy undertone about it. Robbie, after a wild ride on his motorbike, has reached the middle of the desert where he surveys the landscape around him pensively and says to himself, "How the hell did I get here? Which way to I go, now?" Which way, indeed.

After 27 top 10 UK singles following his tenure with Take That, Robbie is back with a brace of new songs all tied up nicely with a lovely bow. They all sound very adult but without the sparkle of past efforts.

Whereas Robbie was the face of youth with a rebel yell, there are others willing to be more daring and outrageous now. Unfortunately, that seems to be more important these days. And Robbie is all too aware of that. Hence, the title of the album. He grew up in public in the age of video. These days, he's all too boring for those that are stuck on the rotting stench of reality programming and the rapid fire, machine gun celebrity code.

However, it's possible that RW is acutely aware of his station within the music biz these days. After a decade long, white heat period, he probably knows his fanbase has grown up with him and are looking for an assured performance and less experimentation. Artists like Janet Jackson and Mariah Carey are always trying to remain on the current tip and almost always fall way short and feel out of step. With "RKTVS", Robbie appears to be transitioning into territory which will allow him to grow into a legacy artist rather than one that is desperately trying to remain relevant.

With that said, it makes sense that Robbie's new adventure is rather understated and safe. RedOne would've been the obvious choice of producer. But Robbie did electro before RedOne laid claim to the genre. Mark Ronson, busy producing Duran Duran, would've made sense. However, the tendency to do something 60s retro would not have done any favors for Mr. Williams. Please take note of the lackluster chart performance of the second single from "RKTVS", "You Know Me", with it's 50s flashes and doo wop leanings. It limps up apologetically to #15 on the UK singles chart this week

There goes Robbie tickling the homoerotic fantasy card again at around the 1.50 mark. He's such a tease. But isn't that whole "Am I straight or am I gay?" schtick getting long in the tooth?

Trevor Horn as producer is an inspired choice. He has unleashed his bass rumbling and orchestral apocalypse signatures all over "Bodies", the first single from the album. All the funky, edgy soundscapes he incorporated in groundbreaking recordings like "Poison Arrow" by ABC, "Relax" by Frankie Goes To Hollywood", "Owner Of A Lonely Heart" by Yes, "Left To My Own Devices" by Pet Shop Boys and "Crazy" by Seal are somewhat evident. But "Bodies", as well as the rest of its parent album, doesn't quite live up to expectations. RW produced by a legend with Trevor Horn's pedigree sounded like ear candy from the gods. And although the album is solid, it's not mindblowing.

However, Trevor is at his best when the artist is part of the process rather than an instrument within the production. Remember "Can't Fight The Moonlight" by LeAnn Rimes? Hardly anything groundbreaking, interesting or memorable about that.

Unfortunately, Robbie sounds slightly bored throughout "Reality Killed The Video Star". Or maybe that's the point? Perhaps that's irony at work. Somehow I doubt that clever turn runs that deeply.

The albums starts on a sombre tone with "Morning Sun". A lone harmonica and quiet piano peek through the early dawn of chirping birds followed by more than a few nods toward "Sgt. Pepper's Lonely Hearts Club Band" while simultaneously having an early 70s, Elton John feel to it.

For all the excitement about getting longtime, "Angels" cohort and collaborator, Guy Chambers back on board, he only makes an appearance on one song. And it's the best one of the bunch in my opinion. "Blasphemy" has an old, English, pastoral, folkiness about it. Lyrically, it's the strongest prose on the album.

Robbie gets his cock out on "Do You Mind" which, upon first listen, sounds a bit unspectacular. But by the time I got through the middle of the song, I found myself chanting the naff chorus at the top of my lungs. LCD or brilliant song? Jury's still out on this one.

"Last Days Of Disco" wears its Pet Shop Boys influences proudly on its sleeve. But there's not a Tennant/Lowe credit in sight. The final crescendo which transitions from a sparse electronic arrangement into a full blown orchestral orgasm is breathtaking. Again, it's Trevor up to his old tricks. However, the lyrics have a ring of truth about them and surely hit close to home for RW:

Don't call it a comeback

We'll hold an event in here
This space is beautiful

I’ll decide when it is over
So don’t call it a comeback

Look what I invented here
I thought it was easy

They cant take it away from us
The last days of disco

Not sure how "Somewhere" fits into the album. It's a short piece which begins with pizzicato cellos, sforzando violins and somewhat demented backing vocals giving the minute long interlude a slightly creepy sound. It makes for a strange transition between the nervous grandeur of the previous track and the blissed out, comedown of the following song.

Which brings us to "Deceptacon", the second best track on the album. Its lush, late 60s, AM radio style harmonies remind me of Carpenters or The 5th Dimension. And "Starstruck" has a decidedly "Older" era, George Michael grooviness to it, but the chorus feels a bit lacking without a euphoric lift to push it along. If you close your eyes around the "ready, steady, go" lyric you'd swear GM snuck in on backing vocals.

"Difficult For Weirdos" returns us to PSB territory with more electronic, disco dabblings. I can't help think this might be a great single if only Robbie didn't sound so passionless. It's also interesting to note that it's one of three songs based on an original production by Soul Mekanik who were responsible for production duties on much of "Rudebox". It begs the question, "How old are these songs and how many hands did they pass through?"

"Won't Do That" has a jolly, English vibe about with its driving, pub piano and jubilant horns. It rises into a big chorus where Robbie sounds like he's having fun for the first time on the entire album. This would probably have been a better choice for second single.

Spooky, bubbling, rubbery bass lines, chiming guitars and ambient melancholy build into a power chord chorus on "Superblind" before sliding into a reprise of the albums opening track.

Overall, Robbie's charisma, charm and conviction seem to be missing from the album, but I think it might have something to do with the search for his next step. "RKTVS" is simultaneously a cautious step forward and look back for Robbie. Perhaps a bit like the moment when Madonna released "Bedtime Stories" after the dark, forboding "Erotica". So RW's album offers the opportunity to grow with him into the next phase of his career. After all, it is more about the journey than the destination.

Seal of approval

It has only been five, short years since Seal released his first career retrospective, "Best: 1990-2004". It didn't rate highly with me since it featured all the lengthy, album versions of the hits which I have on their original longplayers. There's always been something magical about Seal's best moments and they work most effectively in their more economical single versions.

Unfortunately, after his second album, Seal's career slid down the dumper. I think people lost him after his useless cover of Steve Miller Band's "Fly Like An Eagle" for the movie, "Space Jam". Seal drank too much Hollywood Kool-Aid and his fans began to move on.

Then he sang a duet with his supermodel wife, Heidi Klum for his 2005 album, "System". He performed his songs on ice as the backdrop for figure skaters. Although, it should be noted that it was for a good cause with $5 from every ticket going to an autism charity. And then he got wrangled into recording a slushy album of soul covers, the dismally titled "Soul". Needless to say, Seal moved ever lower down my list of favorites and none of his creative ventures did anything to elevate his status, both commercially or artistically, over the last decade.

For some reason, perhaps contractual obligations, Seal returns with a new hits collection, imaginatively titled "Hits", for the festive season. It seems there will be two editions available. But rather than deliver a single disc and a deluxe edition with a bonus CD, it appears the first disc in the expanded version will be substantially different to the single CD version.

Seal's retrospective features a couple of new recordings including "I Am Your Man", a cover of the minor, Motown hit by Bobby Taylor And The Vancouvers from 1968 which was written by in house tunesmiths, Ashford & Simpson, and "Thank You". Alongside the new stuff, the single CD edition of "Hits" will supposedly feature the single versions of "Killer", "Crazy", "Prayer For The Dying" and "Don't Cry". Finally! And for that reason, this greatest hits collection gets my approval.

1. I Am Your Man
2. Kiss From A Rose
3. Killer (Single Edit)
4. Crazy (Single Version)
5. Fly Like An Eagle
6. Love's Divine
7. A Change Is Gonna Come
8. Amazing
9. Get It Together
10. Future Love Paradise (7" Edit)
11. My Vision (Single Version) - Jakatta featuring Seal
12. The Right Life
13. Prayer For The Dying (Single Version)
14. I Can't Stand The Rain
15. Waiting For You
16. The Beginning (Single Edit)
17. Don't Cry (Single Version)
18. It's A Man's Man's Man's World
19. Thank You

I really wish they wouldn't have included the covers from "Soul". But seriously, shouldn't "Love's Divine" have been a top 10 hit? Such a return to form and quite simply one of the best singles of 2003.



It would've made the perfect follow up to his appearance on Jakatta's melodic, mysterious and muscular single, "My Vision", which briefly restored Seal's chart fortunes by peaking at #6 on the UK singles chart in 2002.



I remember hearing "Crazy" on a local radio station at the back end of 1990. It's still quite a unique and arresting track. Four and half minutes of world weary wisdom. Seal sang it like his life depended on it. That middle eight drum break followed by the deadened piano bit still blows my mind. And with it having been released on ZTT gave it immediate cache among musos. At that point, just about anything Trevor Horn and his label laid their hands on was golden.



If you splash out for the double CD edition of "Hits", it looks as if the single versions have been replaced by their album length equivalents. But we get a few rarities like the acoustic version of "Violet", a gorgeous slice of 90s Brit soul, and a few songs that featured on soundtracks like "A Father's Way" from "The Pursuit Of Happyness" (bad movie, shit title) and "This Could Be Heaven" from "The Family Man" (average movie, shit title). "Love Is Powerful" which was only released as a single in Japan, makes an appearance, as does "Les Mots", an lush, emotive duet with iconic, French superstar Mylene Farmer.

Unfortunately, we get a useless, live medley of soul classic at the end of the second disc. We get it, Seal, you're in lurve and a soulful smoocher. Now get back to the business of delivering the hits just as the title of your new collection reminds us.

DISC 1

1. I Am Your Man
2. Kiss From A Rose
3. Crazy
4. Fly Like An Eagle
5. Love's Divine
6. A Change Is Gonna Come
7. Amazing
8. Get It Together
9. My Vision (Single Version) - Jakatta featuring Seal
10. Prayer For The Dying
11. I Can't Stand The Rain
12. Waiting For You
13. The Beginning (US Single Remix)
14. The Right Life (Remix Radio Edit)
15. Don't Cry
16. Rolling
17. If You Don't Know Me By Now
18. Violet (7" Acoustic Version)

DISC 2

1. Killer
2. Future Love Paradise (12" EP Version)
3. Human Beings
4. A Father's Way
5. Love Is Powerful (Full Length Vocal Mix)
6. Colour
7. Free
8. Latest Craze
9. System
10. Newborn Friend (Morales Radio Mix)
11. Lips Like Sugar
12. This Could Be Heaven
13. Les Mots (Single Version) – Mylene Farmer and Seal
14. It's A Man's Man's Man's World
15. Soul Medley: Get It Together/Here I Am/Knock On Wood (Live)
16. Thank You

singing and swinging again

Back to our regularly scheduled programming!

The world is all a-twitter (literally!) about some new stuff from Robbie Williams who took some time away from the spotlight while Take That conquered the UK with their recent, blockbuster reunion. I'm sure he need to lick his wounds after the scathing reviews he got for his last longplayer, "Rudebox".

I bet in a few years time, that album will warm up to those that thought it was a bad move. Seriously. Was he gonna keep giving you "Angels"? Is that what you wanted? Instead, we got what is known in some quarters as the first album by a major artist to embrace the sound of synths way before La Roux and Little Boots were the face of the new electro movement. I believe Robbie was a trailblazer about 18 months too soon.

RW's new single, "Bodies", is different kettle of fish, indeed. It doesn't fall into the category occupied by his previous album, but it doesn't tread on familiar ground like "Intensive Care" did. Thankfully, the zeros and ones ooze with that unmistakable Robbie charm and swagger.



There appears to be a big budget video in the works. Seems kind of pointless these days. Here's a 30 second clip we blagged off EMI's YouTube channel.



Where have I seen this concept before? Hmmmm.....



The album, "Reality Killed The Video Star", includes thirteen, new songs produced by the legendary Trevor Horn. Note the pun in the title, for it is Trevor Horn, as a member of The Buggles, launched MTV with their prophetic, debut single, "Video Killed The Radio Star", way back in 1981.

"Bodies" has all the hallmarks of a Trevor Horn production - a tough bass, stadium sized drums and a bombastic chorus. A deeper listen reveals shades of the first two Seal albums and hints of Art Of Noise.

The following is the tracklisting for RW's latest and greatest.

1. Morning Sun
2. Bodies
3. You Know Me
4. Blasphemy
5. Do You Mind?
6. Last Days Of Disco
7. Somewhere
8. Deceptacon
9. Starstruck
10. Difficult For Weirdos
11. Superblind
12. Won't Do That
13. Morning Sun (Reprise)

There will be a bonus track, "Amazing", for those of you who purchase the album through iTunes, but I suspect it will be only available in the UK and the rest of Europe which makes things very annoying for Robbie's American following. No word on whether "Reality Killed The Video Star" is slated for a US release.

welcome back Mr. Williams

News flash! It was just announced that Robbie Williams will return with a new album and single this year. It coincides nicely with the end of the campaign for Take That's most recent album, "The Circus", and the subsequent tour. How convenient.

The forthcoming album, his eighth longplayer, is called "Reality Killed The Video Star". It will be released on November 9. Ahead of that, the first single from the album will be "Bodies", on October 12. Both the single and album have had its knobs twiddled by Trevor Horn, the titan of all producers. It should sound massive!

Of course, the title of the album is a nod to "Video Killed The Radio Star" by the Buggles of which Trevor Horn was a memeber.


Robbie's looking well rested, don'tcha think?