The new album, Progress, is the first record featuring the full lineup of Williams, Gary Barlow, Howard Donald, Jason Orange, and Mark Owen since 1995’s Nobody Else. The album, due for release on November 15th via Polydor, is being produced by Stuart Price, who has previously worked with pop icons Madonna and Kylie Minogue. The first single from the album, “The Flood”, will be released November 7th digitally and a day later physically. Both the album and single, as well as an exclusive limited edition version featuring the album itself, a DVD of the documentary film Look Back, Don’t Stare, and art prints, are available on the band’s official website.

Fans in Europe have even more to look forward to next summer with the announcement of a 30-date European tour, taking place in some of the most famous football (sorry, soccer) stadiums in Europe. They kick off in the northeast of England on May 30th, 2011, at Sunderland AFC’s Stadium of Light before a four-night run at their hometown’s City of Manchester Stadium.

There are further stops in Wales, Ireland, and Scotland before a return to England with a night in Birmingham followed by four dates at Wembley Stadium in London at the beginning of July. The tour then hits the continent with scheduled dates in Italy, Denmark, Netherlands, and Germany, with the final leg of the tour taking place at Munich’s Olympiastadion. Full details regarding the dates and ticketing can be found on the band’s website, but if you want to buy, you better hurry. Take That sold a recording breaking one million tickets on the first on-sale date, reports Gigwise.

Also, the girl we spoke of earlier is actually us. We just can’t help ourselves.

Progress Tracklist:
01. The Flood
02. SOS
03. Wait
04. Kidz
05. Pretty Things
06. Happy Now
07. Underground Machine
08. What Do You Want From Me?
09. Affirmation
10. Eight Letters

Take That 2011 Tour Dates:
05/30 – Sunderland, UK @ Stadium of Light
05/31 – Sunderland, UK @ Stadium of Light
06/03 – Manchester, UK @ City of Manchester Stadium
06/04 – Manchester, UK @ City of Manchester Stadium
06/05 – Manchester, UK @ City of Manchester Stadium
06/07 – Manchester, UK @ City of Manchester Stadium
06/08 – Manchester, UK @ City of Manchester Stadium
06/10 – Manchester, UK @ City of Manchester Stadium
06/11 – Manchester, UK @ City of Manchester Stadium
06/14 – Cardiff, UK @ Millennium Stadium
06/15 – Cardiff, UK @ Millennium Stadium
06/18 – Dublin, IE @ Croke Park
06/19 – Dublin, IE @ Croke Park
06/22 – Glasgow, UK @ Hampden Park
06/23 – Glasgow, UK @ Hampden Park
06/24 – Glasgow, UK @ Hampden Park
06/27 – Birmingham, UK @ Villa Park
06/28 – Birmingham, UK @ Villa Park
07/01 – London, UK @ Wembley Stadium
07/02 – London, UK @ Wembley Stadium
07/03 – London, UK @ Wembley Stadium
07/05 – London, UK @ Wembley Stadium
07/06 – London, UK @ Wembley Stadium
07/08 – London, UK @ Wembley Stadium
07/12 – Milan, IT @ Stadio San Siro
07/16 – Copenhagen, DK @ Parken
07/18 – Amsterdam, NL @ Amsterdam ArenA
07/22 – Hamburg, DE @ imtech Arena
07/25 – Dusseldorf, DE @ Esprit Arena
07/29 – Munich, DE @ Olympiastadion München
http://consequenceofsound.net/2010....an-tour

But bandmate Jason Orange admitted that The Wanted have raised fears that their domination of the pop charts could be at risk.

‘My dad phoned me and said, “Listen, Jay, you’ve got competition here you know. This band The Wanted are getting a lot of interest, watch yourselves”,’ said the 40-year-old Relight My Fire star.

‘That’s my dad, he frets if there is someone that seems to encroach on our ground.’

The tough talk doesn’t seem to bother the young upstarts though, who say they want to keep the rivalry close to home by joining Gary Barlow’s men on stage.

‘I think if they got The Wanted on their tour as the support act that would really help them drive forward,’ said cheeky 22-year-old All Time Low singer Max George.

Rumour has it, however, that Cheryl Cole is being lined up to tour with the reunited fivesome.

Read more: http://www.metro.co.uk/music....C5mqpOy

Those original fans – called “Thatters” – are now mostly in their late thirties and forties. Scanning through their internet exchanges, I see they’ve been sending their husbands and children to queue or phone up for tickets. Official vendors The Ticket Factory said twice as many people had logged on to their website as had for the Michael Jackson tour and that sales had exceeded the company’s previous record by more than 50 per cent. BT reported that the phone network carried between three and four times the normal number of calls.

As the diehards pitted themselves against the public for precious seats, one Thatter warmly congratulates another on scoring tickets for the O2 show, adding: “And congrats on becoming a grandmother too!” How has the band inspired such undimmed passion in its earliest fans? And how has its rebranded 21st-century coalition won over legions of new, ticket-buying admirers?

I suspect the answer to the first question says more about women than it does about Take That. It springs from a theory I developed at a Barry Manilow concert in 2008. The women around me were in their fifties and sixties, and from the way they fanned their heaving bosoms I assumed that many had a thing for young Barry back in the Seventies. It was a stretch for me to imagine the camply attired, Tango-faced entertainer on the stage as an object of female desire, but these women still worshipped at his sequin-seamed shrine.

As with Cliff Richard, they loved his older, creakier incarnation with a profounder emotion than they had felt for the twinkly-eyed lad who had first caught their eyes. Since the Seventies, his songs had stayed by their sides for better or worse, in sickness and in health. He’d never reneged on his promise to offer them romance and passion whenever real life lacked it. So they humoured his every duff joke and awkward dance move like indulgent wives. As an audience, they all but pecked him on the cheek and handed him his golf bag.

And it occurred to me that, whereas I couldn’t see many men of my acquaintance turning out to see ageing versions of the female stars they’d lusted after in their youth , many women who develop proper teen crushes on pop stars make a real commitment. They dream of growing old together .

To enable this dream, however, the objects of mass female affection have to fuel the fantasy. And Take That have delivered. Not only have they evolved from bare-chested hunks with cheeky, boy-next-door accents into crinkly-eyed family men in cuddly Marks and Sparks roll-necks, they have made this transformation by way of a rift-and-reconciliation narrative that has gripped the nation.

Gary, Robbie, Mark, Jason and Howard were assembled in 1990 as the British answer to the phenomenally successful New Kids on the Block. Their formula of wholesome good looks, high-energy dance routines and puppy-eyed ballads soon melted the targeted adolescent hearts. But then Take That broke up at the height of their fame in 1996.

The band’s youngest, most charismatic member, Robbie Williams, walked out in 1995, claiming he felt as if he’d been released from a mental asylum and complaining that songwriter Gary Barlow had always been driven home after gigs, while he’d been dropped at a Posthouse on the M1 for his mum to collect. Fans were so devastated at the band’s dissolution that the Samaritans had to set up extra lines.

Wildcard Williams made a great play of rejecting the whole clean-cut, boy-band world, took drugs, hung out with more authentic musos and launched the hugely successful solo career that would eventually see him sell more than 55 million records worldwide and become Britain’s best-selling solo artist of all time. The newly credible, laddish Robbie was suddenly a hit with heterosexual men, who piled up to see him at Knebworth and chant along with wry lyrics about the vulnerability of a modern manhood: “My bed’s full of takeaways and fantasies of easy lays/ The pause button’s broke on my video.”

Meanwhile, it turned out that Gary had also been feeling hard done by. In his autobiography, My Take, he describes a trip to Toys R Us in Chester. Take That dolls had been licensed, but his wasn’t in stock. “Have you got any Gary Barlows left?” he asked. “No, we haven’t,” said the assistant. “You have to buy a Mark, a Howard, a Jason and a Robbie doll, then you collect the coupons and get a Gary for free.”

After the split, and after he’d been dropped by the label that had signed on for his solo career, Barlow was also mortified to learn that his image at Madame Tussauds was being melted down to make a new Britney Spears. He says by then he was so depressed, and so fat, that his Tussauds figure could probably have made all three members of Destiny’s Child.

But Gary had always known how to write a good song. The cleverness and durability of his craftsmanship had been creeping up on us. Even though I was sniffy about boybands in the Nineties, I had to admire the clever, onomatopoeic melodic play in the line, “In the twist of separation, you excelled at being free” in the band’s biggest hit, Back for Good. Barlow has now won five Ivor Novello songwriting awards, done work for charity and been universally lauded as a really decent bloke.

So the nation looked fondly on Take That when they reformed, sans Robbie, in 2006. Thatters were thrilled and we teen sniffers had developed a sneaking fondness for the boys, who were somehow so uniquely British that America didn’t get them. Not even Robbie! They were our platinum-selling underdogs.

Take That’s second coming has arguably been more successful than the first. They’ve pulled out some more hits but, more importantly, at a time when record sales don’t add up to much, they have turned their live shows into breathtaking spectacles. Their 2009 Circus tour featured acrobats, a waterfall and a 30ft mechanical elephant, becoming the fastest-selling tour in UK history.

The reconciliation with Robbie is perfectly timed. The original Thatters are mostly now married with kids. Their husbands like Robbie’s solo stuff and can hum along to all the singles that have featured on TV adverts. Their kids will love a big top spectacular. The new tour will bring not only the band, but the fan’s family together.

In all the excitement over the manband’s personal reconciliation, few have given much thought to what their new music will sound like. There’s a new album out this month, called Progress. It’s Take That’s sixth album, and their first in 15 years as a five-piece. The title is meant to reflect the group’s evolution. The first single, The Flood, will feature Gary and Robbie on lead vocals: ideally, it’ll see craftsmanship and charisma combined. But it might tank, like Robbie’s current, Gary-featuring single, Shame. The fans won’t care if it’s any good or not. They’ve all preordered their copies. And, a million love songs later, I suspect those emoticons will still be weeping, flushing and cheering them on.
http://www.telegraph.co.uk/culture....er.html

A collection of the late star's songs, entitled Michael, will go on sale on December 13.

On Friday, bookmaker Ladbrokes installed the album at 2/1 for the Christmas chart-topper, behind Take That's Progress which is favourite at 1/2.

Incomplete recordings which were left by the singer - who died in June 2009 - have now been finished by studio wizards.

One new track, Breaking News, will be premiered next week on his website www.michaeljackson.com.

The decision to release the album has already drawn criticism from one collaborator, Will.i.am from Black Eyed Peas.

He said earlier this year: "He was a perfectionist and he wouldn't have wanted it that way. I don't think that should ever come out."

Alex Donohue, of Ladbrokes, said: "Jacko's new material has got fans hugely excited. It looks like he's thrown down the gauntlet to Take That from beyond the grave."

Read more: http://www.belfasttelegraph.co.uk/news....WSLkcOp

Bandmate Howard Donald said when they met for the first time since Robbie walked out there were still tensions.

He said: "At the end of the day I didn't really know him. In the back of my mind I was thinking, 'well, he could do anything tomorrow'."

But they later got together at Williams' home in LA.

Robbie said: "I got to say my piece. Then Gary's piece was said. Then we were falling about on the floor in the kitchen laughing."

Read more: http://www.mirror.co.uk/celebs....b0pon00

The returning TAKE THAT star insists he was "physically ill" throughout the process of plugging Reality Killed The Video Star - but is too embarrassed to divulge details.

He said: "I had something that made me tired all the time - not as serious as ME.

"The reason I'm being guarded about it is because if I told you, people would go, 'Ha, ha.'

"But it really f****** affected me."

Meanwhile, JASON ORANGE says he "hated" having cameras documenting the manband's reunion with Robbie.

GARY BARLOW had organised for crews to capture the recording of new album Progress, but Jason felt angered by their presence.

He said: "I wanted to enjoy Rob. I wanted to enjoy the reunion privately.

"I didn't want me or any of us to be acting differently when there's cameras on.

"I didn't want it to be captured on cameras, but it was. Gutted."

Read more: http://www.thesun.co.uk/sol....dW4ZyPI

As part of their support, each celebrity has been photographed by musician and campaign photographer Bryan Adams holding the Hear the World pose - with one hand cupped behind their ear to convey conscious hearing.

“Hearing is something that we rely on every day, even more so being musicians. To lend our support to this campaign is something we are really proud of and are grateful for a chance to play a part in raising aware-ness of the issue of hearing loss”, Robbie Williams says on behalf of the band.

Hear the World is now one of the world’s largest celebrity supported health campaign currently more than forty high-profile musicians, actors and models from across the globe helping raise awareness for a prob-lem which affects over 800 million people worldwide.

More than 16 percent of the world's population have hearing loss with experts predicting this will to increase to 1.1 billion by 2015. In the UK an estimated 8.5 million people are affected by the condition and struggle for up to 15 years before seeking advice. Studies have shown that this has a significantly negative effect on a person's social, emotional and physical wellbeing.
http://www.hear-the-world.com/es....gn.html

In an interview with the Radio Times, Owen says: "In rehab, I was able to look at my behaviour, at who I was and who I wasn't. I'd kind of become this person I didn't really recognise. How did that happen?"

In a new documentary about the group Owen's colleague, Jason Orange, says of him: "Before, if someone was suffering, there was no time to deal with it. You'd just keep grinding on for the sake of business and success. This time, we (the group) have to put each other first. So there was no pressure on Mark to come back. Just when he was ready."

Robbie Williams, who received rehab treatment for drink and drug addiction, says: "No-one's got the emotional tools to deal with being looked at by a million people. Live the dream? Live the nightmare.

"Without rehab I'd be dead, not to be drama queen-y."
http://www.rte.ie/ten/2010/1109/takethat.html

Ant and Dec received it because a deal was done with Williams, who explained several weeks before the ceremony, shown on ITV, that he’d only present an award if it went to Ant and Dec. Tut tut.

Of course, the Geordie pair had no idea what had gone on and later offered to give the award back.

Read more: http://www.metro.co.uk/tv....wtcHch8

It's been hard to sustain that feeling: either I'm less snobbish these days or reunions are just a lot more common. Pulp's announcement this week of a series of gigs next year with their definitive mid-90s line-up was met with delight but not any particular shock. When bands split now they enter the revolving-door afterlife familiar to superheroes and soap villains – it's only a matter of time before they're back. Not that all reunions work. Here's my five-point plan for any band thinking of getting the old gang back together.

First, present it as unfinished business. Take That are the most successful reuniters of our times because they've sold each revival as a new chapter, not an unnecessary sequel. Gary Barlow and Robbie Williams's Shame is probably the most indulgent piece of self-mythologising to hit the top five since The Ballad Of John And Yoko, but they know the story is as important right now as the music.

Second, understand what you mean to people. Barlow and company's initial return was so triumphant because they knew their fans remembered them as a lost first love and made music that was bittersweet and grownup: the pop equivalent of an old flame friending you on Facebook. If, like the Spice Girls, they had jumped into a reunion pretending nothing had changed it would have been a disaster.

You should also be clear about what kind of reunion it's going to be. The Velvets disappointed me partly because I expected more improvisation and risk-taking from them, and I got a canter through the hits. My Bloody Valentine played nothing but old material, too, but it was obvious that's what they'd be doing (and loud enough not to matter). Serial reformers Wire treat every comeback as a fresh phase of their project, setting themselves fascinating new challenges each time.

Not everyone can be Wire, but you can at least make your return an event. This is where Pulp – like Blur before them – are scoring well, suggesting a handful of special-occasion gigs rather than a wholesale return to action. Festivals like All Tomorrows Parties thrive on credible reunions, helping them feel like a considered artistic decision not a crass cash-in.

And finally, don't jump the gun. Bands stop because they get sick of each other or an audience gets sick of them: those conditions take time to heal – the best part of a decade in most successful reunion cases.

Even if you check all these boxes you might find lingering opposition to the idea. When bands get back together they can kill the romance of a group by overwriting precious memories. Reunions can also imply that an individual's artistic growth since a band split isn't worth very much: it's noticeable that Damon Albarn has been very keen to counter that notion by positioning the revived Blur as simply another project, rather than any kind of homecoming. And finally, revivals add to a conservative streak in pop culture, the sense you get when scanning music magazine racks that the past is more worth celebrating than the now.

For all that, the new economics of pop make reunions a tempting proposal. The Economist recently revealed that the music industry – as opposed to the recording industry – has experienced a fairly good recession, thanks to ever-increasing live revenues. Reunited bands can make a lot more than they did first time round – especially as critically acclaimed acts have credibility to cash in. This year's US festival darlings Pavement have been playing to crowds larger and more enthusiastic than they ever got during the 1990s, and while Pulp were a big draw in their time, their Hits collection – traditionally the capstone to a successful career – didn't even make the Top 40. No wonder they want a chance to get their legacy right.
http://www.guardian.co.uk/music....ke-that

It will send ripples through the Saga holiday set, with pacemakers on red alert.

The wrinkly Irish duo issue their CD and DVD bonanza pack Magic Moments on Monday - the same day GARY BARLOW, MARK OWEN, HOWARD DONALD, JASON ORANGE and ROBBIE WILLIAMS release Progress. And the blue-rinse pin-ups are spoiling for a scrap.

On a visit to Sun HQ, they poked a walking stick in TT's direction and thundered: "We're ready. It's war."

Someone pull the panic cord for the warden.

The old boys are still smarting after TT knocked them off top spot in the video charts in 1993.

Singer TONY ALLEN said: "There was no turning back when we saw our albums were going head-to-head.

"We're the Take That of folk and confident of winning. We've got LOUIS WALSH, WESTLIFE, BOYZONE and the whole of Ireland on our side.

"Plus we're playing tracks to 40,000 people at Aston Villa v Man United on Saturday."

Tony and accordion basher MICK FOSTER ripped up snaps of Take That they found in my studio and didn't need their reading glasses, they were so angry. They have also updated their logo, which resembles the TT symbol.

Mick said: "It was just a bit of fun. We've had 17 albums in consecutive years. That's more than MADONNA and THE ROLLING STONES. Take That won't do that.

"We're still going strong. We have never split up and don't intend to any time soon."

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The normally mild-mannered pair claim Take That owe their fanbase to Foster & Allen. Tony said: "Their fans are the children of our fans. They clearly have good taste. I think we deserve a cut of their profits."

You tell 'em, Tony.

They've also hit TT where it hurts - by recording an impressive version of Back For Good in a Biz Session.

The lads popped off for a nap to recover after their rant, before a change into some fresh knitwear.

This one could get ugly.

Read more: http://www.thesun.co.uk/sol....wwV32zs

In an interview with the Daily Star, Mark Feehily said: "We love Take That and think JLS are great.

"We have respect for those boys but Sun¬day will be like a local derby.

"We're all mates off the field but when we get on the pitch, the collars go up and we go into fighting mode."

Feehily admitted that the group want to make Simon Cowell "proud": "He's been super-involved in the new album. He wants us to sound the best and look the best on Sunday."

He added: "Sunday will be a celebration of boybands. Four years ago, people were saying the formula was dead and now look at us.

"Take That are the daddies - they inspired us. And JLS are the new boys, really relevant."

Westlife release their new single 'Safe' on Sunday, followed by the album 'Gravity' on 15 November.
http://www.rte.ie/ten/2010/1111/westlife.html
Не ну это всё равно наезд

The rush of mobility scooters has been so dramatic, bookies have slashed odds on the beardy Irish pair trumping the man band from 100/1 to 3/1.

A whopping Ј35,000 has been lumped on them. A rattled William Hill spokesman said: "They have a chance of creating one of the greatest upsets."

Their album Magic Moments and TT's Progress - the band's first album since ROBBIE WILLIAMS' return - are both out on Monday.

Take That will win.

Read more: http://www.thesun.co.uk/sol....2ij9Z83

The last to arrive are Jason Orange and Howard Donald and while the cameras are rolling a palpably nervous Howard confides his fear of feeling “really part of” the reunion while Jason adds: “On the plane over Howard said shall we make up a dance routine so we can show them something when we turn up? So we can say ‘we’ve got something lads – we’re contributing’. The two muppets at the back!”

Such self-deprecation is no doubt endearing but there is more than a grain of truth in the comment. ­Neither Jason, 40, nor Howard, 42, has ever appeared a lynchpin of the band, nor the most headline-grabbing. News of Take That’s latest reunion has largely been dominated by how the two egos – Gary Barlow and Robbie – will mesh together while Mark Owen, the original heart-throb, has been garnering attention all this year both for being a shock love rat (he admitted cheating on his now-wife with 10 other women) and for his battle with the bottle which ended in rehab.

But last Saturday’s documentary Take That: Look Back, Don’t Stare – for which cameras followed the band for 12 months – has given more of a voice to the quieter members of the group, giving greater insight into Howard and Jason’s roles and their cautious attitude towards the reunion.

Ironically Howard has found himself at the centre of attention today for another reason. The oldest ­member of the group (who has two daughters from two previous relationships) this week lost his fight to keep in place an injunction stopping an ex-girlfriend revealing details of their affair. We still know little of it, except that it occurred sometime between 2000 and the end of last year and the woman in question, soul singer ­Adakini Ntuli, is still banned from ­disclosing “any intimate, personal or sexually explicit details about the relationship”. The matter has, however, focused the spotlight on the singer who in the documentary revealed himself as less than happy that the band had invited Robbie back into the Take That fold.

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“I’ve been sceptical about him coming back,” Howard confessed. “I’d like to think it’ll be cool and everything will be fine and we’ll be tight-knit but from what I’ve experienced Robbie has a changeable mind.” Meanwhile Jason was also shown questioning Robbie about his egocentricity.

“I think to understand Howard and Jason’s mind-set you have to go back to how they were originally viewed in the band,” says biographer Emily Herbert, author of Take That And Robbie Williams – Back For Good. “In the first incarnation of the band in 1990 they were on the periphery. The manager Nigel Martin-Smith had found Gary Barlow and recognised his singer-songwriting talents and the rest of the band was formed around him. Howard and Jason were already friends, grew up in working-class Manchester, had both discovered breakdancing and were specifically brought in as the dancers.”

W hen the band officially kicked off in 1990 it soon emerged that while songwriter Gary was the main singer, ­Robbie was the jokey, attention-­grabbing showman and Mark was the baby-faced pin-up.

“Really, Howard and Jason were the Andrew Ridgeleys of Take That and when you’re in a band alongside such a huge talent as a George Michael or a Gary Barlow, you will naturally be in the background,” adds former music journalist Sonia Poulton. “That was always the cause of tension between Robbie and Gary because ­Robbie was rebelling against being sidelined. I think the reason Howard and Jason didn’t rock the boat was because they knew they were being used as props but they didn’t mind so much. I think they thought they were fortunate to be there in the first place. Before Howard was in Take That, for instance, he appeared as a dancer on a corny late-night music programme called The Hit Man And Her alongside Pete Waterman. Howard would appear in very skimpy pants and dance on stage in a club. Nigel decided the group was to appeal to the gay market and it was very much Howard and Jason who did the rather camp routines.”

After Robbie left in 1995 and the band broke up a year later to the consternation of fans ­(special Samaritans phone lines had to be set up to cope with their ­dismay) it was Howard who was the most affected.

“I didn’t want us to split,” he confided later. “I walked out of the hotel and wanted to throw myself into the Thames.”

“It was certainly Howard who took it worst,” says Herbert. “Neither he nor Jason had the potential careers the others thought they had ahead of them. Great things were forecast for Gary in particular. Howard was desperate but then actually he turned it around and went on to have a very successful second career. He went to Berlin and became a club DJ who is in demand all over the world.”

Indeed, go on to Howard’s official website and you would be forgiven for missing the part about him being a member of Take That because his DJing career is given such prominence. Equally, Jason has referred to “the most important days” of his life as being those when he was in a breakdancing group called Street Machine Crew in his late teens. “All those ­different crews at the time – the ­competition was fierce. It was like the film Warriors without the violence,” enthused the singer, who currently has no ­significant other although he did have a “special relationship” with Lulu after she released Relight My Fire with Take That in 1993.

“After the band broke up Jason tried his hand as an actor with a little success but he basically went all ­cerebral,” adds Herbert. “He gave up alcohol and women and did meditation and yoga.”

B ut when Take That re-formed in 2006 and became one of the biggest success stories of the year Jason and Howard’s roles changed. “Originally Howard and Jason never had any lead vocals but one of the agreements they came to when they got back together was that it would be more equal,” says Herbert. “Now they all have some share in the songwriting credits which makes a huge difference with the royalties. When they split up the first time Gary was said to have earned £20 million while the others earned £2 million. On this new album Jason and Howard are both given a song each where they sing the lead vocals. A much greater effort has been made so they were more included.”

So how will Robbie’s re-inclusion in the band (they are doing 20 concerts to promote the new album which will net them £4 million each) affect the dynamic? In last Saturday’s ­documentary Howard suggests ­Robbie might find it the most difficult to gel.

“When you look at the four of us – me, Jason, Gary and Mark – we are bonded. More so than ever. Now Rob’s come in for this album I think it must be hard for him,” he says.

But, says Herbert, it is perhaps just as hard for Jason and Howard. “I wouldn’t like to call Howard and Jason the weaker members of the band but they’re not Gary Barlow are they? I think there is a danger they will be overshadowed again. If they were a bit worried about the balance could you blame them?”
http://www.express.co.uk/posts/view/212219/Take-That-s-backroom-boys

В первый день продаж было продано 235 000 копий. Такого показателя скорости продаж не было со времен выпуска альбома «Be Here Now» группы Oasis, который вышел в 1997 году и разлетелся тиражом 350 000 копий за один день продаж, как сообщает Official Charts Company.

В новом альбоме поп-рок группы Take That записан также голос Робби Уильямса, который покинул коллектив в 1995 году, а теперь в середине июля 2010 года снова вернулся в свою старую группу.

Мартин Талбот, управляющий директор OCC сказал по поводу нового альбома:

«Это феноменальное достижение от феноменально успешной группы».

Хочется также напомнить, что в октябре 2010 года сборник хитов «In and Out of Consciousness» Робби Уильямса возглавил в Великобритании рейтинг продаж музыкальных дисков.

http://muz.ru/Store/NewsDetails.aspx?NewsId=73597

«Progress», шестой по счету альбом группы Take That, вызывал интерес к более ранним записям музыкального коллектива.

Новый альбом группы, «Progress», побил рекорд по скорости продаж. Он стал «быстрее всего проданным альбомом столетия»,— сообщает The Guardian, ссылаясь на сообщение Official Charts Company. 235 тыс. копий альбома были распроданы за один день.

Несмотря на этот рекорд, группа пока проигрывает сама себе, их третий альбом «Oasis» покупали чаще. К примеру, в день его выхода, 21 августа 1997 года, поклонники приобрели 424 тыс. экземпляров, за следующие два дня было куплено еще 696 тыс. Судя по цифрам, «Progress» вызвал интерес к более ранним записям Take That. Совместный альбом группы и Робби Уильямса «The Circus» и сольный альбом самого Уильямса «Intencive Care» также стали чаще покупать. Примечательно, что и билеты на концерт Take That на их гастрольный тур были распроданы за три дня.

Напомним, что группа Take That, которая распалась 15 лет назад, в июле 2010 года решила объединится. Тогда же было объявлено, что музыканты выпустят новый совместный альбом, который стал шестым в их творческой биографии.

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