Backlash culture has been in pop forever, but Giles Hattersley's eulogy for Williams's career in last weekend's Sunday Times was particularly cruel. First, he mocked Williams's performance of his new single, Bodies, on The X Factor – a turn that was far less the "car crash" that Hattersley, among others, suggested, and much more like a bump to the bodywork – before flagging up the crushing possibility that Bodies would "only reach the No 2 spot in tonight's singles charts". He then quizzed industry experts about what this "failure" would mean, and asked: "Have the wheels already come off the Robbie comeback?" To which any sane human being should slam their feet on his brakes, and shout: "One bloody minute, mate!"

Since when does a single entering the charts at No 2 signal disaster? If it had done so on meagre sales, Hattersley might have a point. But Williams's single actually did very well. It sold a very admirable 90,000 copies, in fact, beaten to No 1 by X Factor winner Alexandra Burke's Bad Boys – the fastest-selling single of the year to that point. Music Week's Alan Jones pointed out that Williams achieved "the highest sales for a No 2 single since Take That's Rule The World in 2007", another song kept off the top stop by an X Factor winner (in their case, Leona Lewis). So even though Williams and Take That did similar business, Hattersley was happy to leave the facts out to meet his own agenda.

That leads us to another, murkier question. Why are industry experts being quizzed, in the broadsheets, about the failure of a project before its lead single has even entered the charts? The answer is depressing: some sections of the press, as well as the record business, demands immediate results from pop stars nowadays, and parade "failures" ruthlessly when targets aren't met. Look at the torrent of articles that appeared when Speech Debelle's Mercury-winning album, Speech Therapy, didn't sell well within weeks, for example – no one can take their time any more. The surfeit of pop coverage online pushes papers to hunt down more crash-and-burn stories, and print more opinionated blogs for their comment-hungry masses. As a result, record label campaigns get analysed very roughly, dispatched and then sidelined very quickly. The idea that success might not have to be sudden disappears, and pop becomes hostage to a culture of Chinese whispers – and misguided opinion often becomes gospel.

With all this going on, I particularly worry for Williams, not only because he is a man dealing with his own well-publicised problems, but because it creates a false expectation that his album will be terrible. In fact, it's fantastic: a brilliant reminder of how his songs can combine wit, strangeness and accessibility. Morning Sun and Starstruck are mature and gorgeously melancholic; punchy numbers like Difficult for Weirdos prove Williams can still make a great tune; while a touching love song for his girlfriend, Won't Do That, shows a man repenting past mistakes, and moving gracefully on. I'd like those who have already decided the album is a failure to dwell on this closely, and even try to listen to music before ripping it apart.
http://www.guardian.co.uk/music/2009/oct/22/robbie-williams-comeback

The Take That songwriter also told GMTV that he had spent time with Williams watching his group's own recent tour DVD.

Barlow said: "I said, 'Rob do you fancy having a listen?' I was up at his house one night having some sushi with him [and] I said 'Shall we have a watch?'.

"I said to him, 'Listen, flick through the bits you don't want to watch', but we watched the whole thing and he loved it. And it was so nice to see him enjoying what we're doing."

He added: "I think one of the things that Rob always says is that because it is him on his own, the whole weight of the show and being a performer is on his shoulder - all eyes are on him.

"I must say, being part of a band, the responsibility is shared. And yeah I think he looks at that and probably would like it to be like that for him too. Yeah, it's hard."

Of Williams's comeback album, Barlow said: "Brilliant, loved it, I knew I would."

He confirmed that Take That plan to work with Williams at some point in the future and that the group are "all eager to write again and get back to it as quickly as possible".

Barlow appears on GMTV this Friday, October 30 from 7am on ITV1.
http://www.digitalspy.co.uk/music....um.html

It will enable fans to hear Reality Killed The Video Star - including upcoming single You Know Me and recent No2 Bodies - FREE on computer or iPhone from midnight this Friday.

U2 were the first major act to "pre-release" an album on Spotify, when they put out No Line On The Horizon in March.

When it hit shops several days later it stormed straight to No1.

Now the Robster's move will make this way of doing things more popular and it's a massive sign of the times.

Spotify works like a free radio station. It lets fans listen on computer or iPhone to a vast virtual library of tunes without paying a penny.

But ads are played every so often, unless listeners pay for a premium service, and artists get paid royalties when their music is played.

If you go to Spotify for Robbie's launch, he's ALSO posted a playlist of his all-time favourite songs.

They include Singin' In The Rain by GENE KELLY, TOM JONES hit She's A Lady, GEORGE MICHAEL's Careless Whisper, and FRANK SINATRA track Witchcraft.

Read more: http://www.thesun.co.uk/sol....t6nJyNe

While his UFO-obsessed exile in California may have left Williams a bit out of sync with the modern pop world — witness his saucer-eyed foray into the X Factor bearpit — nothing has been left to chance in the making of this record. There are six writers (including Williams) credited with composing the opening track, Morning Sun, an engaging but undemanding Elton John-type piano ballad with gradually escalating Beatles-style strings. And it apparently took five people to write Somewhere, a song lasting just over a minute with a lyric not much longer than a haiku.

With the songs safely through the committee stage, the studio performances were delivered to Trevor Horn, a man with all the approved credentials to produce an old-fashioned blockbuster. The resulting recording is clean and big, a panoramic soundscape, but always with the voice close to the front of the mix.
Related Links

* Forget X Factor disaster, Robbie Williams shows he's back

* Top of the flops

With all this activity going on around him, Williams adopts his preferred position — centre stage — with practised ease. The songs — some happy, but most strangely sad — are all about him and his place in the Universe, with lyrics that are alternately self-glorifying and self-pitying. “I can't help thinking about me/ I’m the genius behind me,” he sings in Superblind, a number that begins as a wistful ballad but soon adds gusty layers of power guitar chords and swirling strings. Elsewhere, things don’t sound so good. “I've been bleeding lately, internally,” he complains in Blasphemy, another piano and string-driven number, co-written with Guy Chambers, in which Williams contemplates a sea of troubles including the onset of “great depression” and, prematurely, “senile dementia”.

But despite the deft and often dark wordplay — as in the hit single Bodies — there is something safe and ultracalculated at the heart of this album that undermines the needy, nervy egotism that continues to sustain Williams as a front-rank star. He’s not on the skids yet, but the days when a new Williams album was accompanied by the sound of champagne corks popping are starting to seem a little distant.

Robbie's latest album, featuring the hit single Bodies and next single You Know Me is available on CD or as part of the deluxe edition; a beautiful two-disc hardback bound package including the album on CD and a DVD of documentary Shoot The Video Star featuring behind-the-scenes footage. If you prefer your music in digital format the album is of course available from iTunes and includes bonus track Arizona and a 5-minute video clip taken from the Shoot The Video Star film.

We've been streaming the album on RobbieWilliams.com for over a week, so you've no doubt already heard most of Reality Killed The Video Star, but in case you missed it, you can hear the album in its entirety here.

If you pre-ordered the album and already have your copy make sure you insert the CD into your computer to access the brilliant bonus material; download extra audio and video content and don't forget to add your photo to the Fan Wall - a huge mosaic of fans' photos which will reveal a picture of Robbie as more photos get added. If you have the album on MP3 click here to access the bonus content.

Click here to buy Reality Killed The Video Star now.

Here are just a few of great reviews the Reality Killed The Video Star has received:

'The album bulges with fantastic melodies' 4/5, The Guardian

'Robbie Williams makes his much-heralded return to form' InStyle Magazine

'The king of charisma returns' Album of the Month, Marie Claire

'Robbie's excelled himself and we're thrilled to have him back and better than ever' 5 stars, Heat

Now we want to know what you think, leave your comments below..!
Тут ещё и видео есть
http://www.robbiewilliams.com/news-bl....out-now

RobbiecoverIt’s hard to be Robbie Williams. A gigantic star all over the world, he's ignored in the U.S. (where he currently lives — in Los Angeles — with actress Ayda Field. Sorry, boys). So here comes Reality Killed the Video Star (out digitally today, on CD 11/17), his 8th studio album, and the speculation starts again: will this be Williams' rocketship to American stardom or another one-way trip to Planet Oblivion? Sure, he's got a stateside cult following, but boy band refugee Williams deserves a Justin Timberlake-size audience. The good news? Reality's the best thing Williams has done since his U.S. debut compilation, The Ego Has Landed. Produced by Trevor Horn — the former Buggles main man — Reality, a pun on Horn's "Video Killed the Radio Star," plays to Williams' strengths from start to finish. First single "Bodies" (FREE DOWNLOAD OF FRED FALKE EXTENDED REMIX HERE) layers monk-ish chanting over an Art of Noise robot groove. "Blasphemy" is a theatrical ballad that sounds like Williams' audition for the roadshow of Hedwig and the Angry Inch. And "Starstruck" confronts Robbie's lack of U.S. commercial respect head on. As longtime fans we're used to our fellow citizens' deaf spot, but the reality is we'd like it to change.
http://www.towleroad.com/2009/11/music-news-november-10.html

The race between the two releases, the boy band's self-titled debut and the Robster's Reality Killed The Video Star, was neck and neck all week.

But ASTON MERRYGOLD and bandmates JONATHAN "JB" GILL, MARVIN HUMES and ORITSЙ WILLIAMS edged it by 1,517 sales. They shifted a record 239,643 copies compared with Robbie's impressive 238,126.

Rob called Marvin yesterday to say well done - a nice touch from the pop veteran. He invited the lads to meet him in LA when they're next in town and the young swordsmen, last year's X Factor runners-up, didn't need a second invitation.

Robbie has also challenged them to a game of football during their visit. Rob's got a decent left foot but the JLS lads will have the legs on the chain-smoker.

If Rob signs me up for the match, I'm sure we could teach the youth policy a footballing lesson.

Read more: http://www.thesun.co.uk/sol....3gkacKx

They re[placed Cheryl's '3 Words', who in turn beat Bon Jovi by 285 copies to sustain a fortnight at No 1 last week.

Robbie, who performed midweek with Gary Barlow 'Hey Jude!' for the 'Children in Need' concert - immediately called them to congratulate the band consisting of Aston Merrygold, Marvin Humes, JB Gill and Oritse Williams.

JLS's (Jack the Lad's) self-titled debut record is now the record holder for the fastest first-week album sales - the singles title remains 'Fight for this Love' by Cheryl Cole - after selling a record 239,643 copies.

It is reported by the Sun that Robbie has invited the band to join him in LA - this time in a game of footy.
http://www.ibtimes.co.uk/content....rts.htm

The band’s self-titled debut comes in different colours with individual shots of the lads to entice fans to buy multiple copies.

And it obviously did the trick because Marvin Humes, 24, Aston Merrygold, 21, JB Gill and Oritsé Williams, both 22, just pipped 35-year-old Robbie’s comeback album Reality Killed The Video Star.

Marvin told me: “I’m sure some die-hard fans bought all five versions.

“But then there will be some that could not afford them all so they just got their favourite member.”

JLS sold over 200,000 copies but they reckon it was the cover featuring young Aston that shifted the most.

After a night out celebrating their feat Marv revealed: “He has sold the most hoodies and T-shirts so I’m betting the blue copies with Aston sold out the most because he’s a young, cute stud.

“We do take the mickey out of him but I’m sure he’s very popular with the fans.”

Success has allowed JLS to indulge in their love of trainers and they have been taking tips from a celeb on how to store them.

Marvin explained: “Jonathan Ross was telling us about his wardrobe at home.

“Apparently in his bedroom he has a see-through floor filled up with all of the trainer boxes he has. That sounds like a plan.”

But the quartet are keeping their feet on the ground and Marvin added: “We’ve had an amazing start but we are far from being the force in the industry that we want to be.”
http://www.dailystar.co.uk/playlis....Robbie-

Несмотря на то, что в музыкальном чарте Великобритании новый альбом Робби Уильямса (Robbie Williams) уступил бойбенду JLS и оказался на 2 месте, общеевропейские продажи Reality Killed The Video Star оказались успешнее, чем у конкурентов. На прошлой неделе пластинка стала №1 в Германии, Швейцарии, Австрии и Голландии, №2 – в Италии и Чехии и №3 – в Дании. JLS тем временем поднялись на восьмую строчку рейтинга Европы.

Billboard European Albums (20 ноября):

Robbie Williams — Reality Killed The Video Star

Michael Jackson - This Is It

Bon Jovi — The Circle

Michael Buble — Crazy Love

Rammstein — Liebe Ist Fur Alle Da The

Black Eyed Peas — The E.N.D

Sting — If On A Winter's Night

JLS — JLS

Foo Fighters — Greatest Hits

Snow Patrol — Up To Now

2 место чарта принадлежит лидеру прошлой недели — Майклу Джексону (Michael Jackson) с посмертным This Is It. Ровно на ступеньку ниже, по сравнению с минувшей пятницей, опустились Bon Jovi, Майкл Бубле (Michael Buble) и Rammstein – их альбомы The Circle, Crazy Love и Liebe Ist Für Alle Da соответственно оказались под номерами 3, 4 и 5.
http://h.ua/story/239427/

Robbie Williams is celebrating 2009, the comeback of his life.

The greatest entertainer is back with his superb album full of emotional and traveling with songs. Already more than 400,000 units sold of "Reality Killed the Video Star" in Germany, Robbie Williams has been awarded double platinum. During his appearance on "Schlag den Raab" last Saturday, he was presented the award. Were also awarded his manager David Enthoven (ie Music), the team of ProSieben and MM Merchandising Media GmbH, could be implemented with the help of one of the largest music / TV collaborations in recent years

http://www.emimusic.de/presse/2032

Everything about Robbie Williams has been “larger than life” – from his music to his antics and, of course, his ego. It’s a good thing that he has the tunes to back it up – “Freedom,” “Angels,” “Millennium,” “She’s The One,” “Rock DJ,” “Something Stupid” and “Come Undone,” to name a few.

On his 10th solo album, “Reality Killed the Video Star,” Williams turns down the dial and delivers his most sedate album yet.

An underlying thread of calm keeps “Reality…” together: From “Morning Sun,” a piano-decked Elton John-inspired ballad and “Won’t Do That,” with its George Harrison-esque guitar solo, to the blissful “Blasphemy,” lifted by the simple-yet-lush orchestration framing Williams’ ruminations.

And then old Williams resurfaces on the brash pop of “Do You Mind,” as well as in his doo-wop affectations in “You Know Me.”

But he returns to the electro-dance grooves, mainly with the lyrically-narcissistic “Bodies;” and then mines the synth tricks of the ’80s with “Last Days of Disco” and in another moderate electro-raver, “Starstruck.”

Could the “ego” really be mellowing out? Or, as he sings in “Last Days of Disco,” he’s “all raved out!” Whatever the case, there are enough songs in this release to pass for good listening.

‘Closest Thing to Heaven,’ Rivermaya, Warner Music

Rivermaya comes out with guns a blazin’ in “Closest Thing to Heaven.” The crashing chords that ring freely vis-à-vis the crisp smack of the snare drum that opens the track “Mulat” is a jolting reminder that Rivermaya is still here, thank you very much!

“Sayang pero kailangan nang bumalik sa mundong puno ng pasikatan, paastigan, palakasan,” they sing, gearing up for battle.

The renewed energy is palpable on the fuzzed out “Ms. Ecstatic” and the groove-laden “Save Your Soul” with lyrics that offer another glimpse of what these guys have been pre-occupied with post-Rico Blanco.

The ’90s-style pop basics surface in the acoustic guitar-driven “Ambotsa,” and “Ongano,” with its catchy melodies reminiscent of early ’Maya.

Lead vocalist Jason Fernandez is finally more confident in his role; while Elgar delivers his best guitar work to date – the outro alone to “Dangal” is scorching with its squealing harmonics, smooth legato runs and precision phrasing within a melodic frame.

Bassist Japs Sergio holds the bottom end of the music with aplomb, and likewise writes the bulk of the songs here. Mark Escueta, meanwhile, provides the steady backbone the band needs.

“Closest…” spares no room for drama – the band already has had its share of those. Instead it brings back the focus on the music.

After all, playing is the closest thing to heaven they’ll get. For now at least.

‘Let Me Be The One,’ Gino Padilla, Vicor Music

Can a remake surpass the original?

Gino Padilla, the voice behind the hits “Let The Love Begin,” “Gusto Kita” and “Closer You And I” tries to answer the question as he bounces back into the scene with a new album – an all-remake collection of classic OPM love songs.

The 14-track CD “Let Me Be the One” explores love in all its complicated forms in favorites like “Don’t Say Goodbye,” “Even If” and “I’ve Fallen For You.”

Each cover song is updated but still remains true to the essence of the original, like True Faith’s “Perfect,” The CompanY’s “Now That I Have You” and Sarah Geronimo’s “I Still Believe In Loving You” – resurrected here as adult contemporary fare.

The high points include his compelling cover of the Rannie Raymundo hit, “Why Can’t It Be,” and Jimmy Bondoc’s “Let Me Be the One” with Padilla’s exemplary version likely to earn him more than just complimentary nods from the songs’ originators.

In giving the songs the right color, emotion and mood, Padilla truly showcases his range and capability as a vocalist.

So can a remake surpass the original? Padilla might humbly say no, but this album certainly proves otherwise.
http://www.mb.com.ph/articles/244403/is-robbie-williams-mellowing-out