Take That quitter Robbie Williams “is not, and has never been, homosexual”. And you’d better not call him one, either. In ‘05 Robbie won a libel case against MGN and Northern & Shell publishers relating to articles in their papers that had reported he was a closet case. It’s still totally safe to call him a wanker, however (although we would never do so!). On his new disc’s “Bodies”, he insists that “All we’ve ever wanted is to look good naked,” which is a very Robbie Williams thing to insist. Elsewhere, the typically droll “Reality Killed The Video Star” includes a cowbell-enhanced rave-up (”Do You Mind”), a bit of Lady Gaga–ish electro-pop (”Last Days Of Disco”), and one track named after Transformers (”Deceptacon”). But his formerly sharp wit abandons him on the critic-baiting “Morning Sun”, revealing that the stuff written about him does hurt Robbie.

by Mark Emge

Originally titled “El Protagonista” (until his management told him it was too pretentious), Robbie Williams‘ new album, “Reality Killed The Video Star”, marks a return to the former Take That member’s trademark pop after 2006’s more experimental–and commercially under-performing–”Rudebox”. Williams himself calls the record “old Robbie, new Robbie, and a Robbie that neither of us have met…”. The lush ballad “You Know Me” is among the collection’s highlights.

by Mark Emge

Originally titled “El Protagonista” (until his management told him it was too pretentious), Robbie Williams‘ upcoming album, “Reality Killed The Video Star”, was recently unveiled at an industry playback in London, hosted by EMI UK and Ireland president Andria Vidler. The album marks a return to Williams’ trademark pop after 2006’s more experimental–and commercially under-performing–”Rudebox”, and although each of Robbie’s previous seven studio solo albums so far have hit No. 1 in the United Kingdom, Williams and his people want to return him to the fertile, adult pop of smash hit albums “Escapology” and “Intensive Care”. Williams himself calls the record “old Robbie, new Robbie, and a Robbie that neither of us have met…” Listeners agreed that album highlights include the lush ballad “You Know Me”.

by Mark Emge

With an eye on his personal happiness, Williams fled his troubled life in Los Angeles by moving back to England earlier this year. He also seems to have an eye on the stratospheric success of his former bandmates. “The thing that struck me most was how much fun they’re having,” Robbie said of Take That’s Circus Tour. “It’s more rewarding when you’re a gang.” Williams was seen hanging with the boys this summer and even went so far as getting a Take That tattoo in honour of his rejoining the act. Before the ink had dried, however, new leader Gary Barlow announced, “We’re a happy band right now. Robbie won’t be joining just yet!”

by Mark Emge

“Bodies” begins the brand rebuilding on Robbie Williams‘ new album, “Reality Killed The Video Star”. The disc’s title references his producer, ex-Buggle Trevor Horn, whom Robbie calls “a genius.” With an eye on his personal happiness, Williams left years of troubled existence in Los Angeles by moving back to England earlier this year. He also seems to have an eye on the stratospheric success of his former bandmates. “The thing that struck me the most was how much fun they’re having,” Robbie said of Take That’s Circus Tour. “It’s more rewarding when you’re a gang,” and Williams has been in contact with his mates, going so far as to get a Take That tattoo in honour of his rejoining the act. Before the ink had dried, however, new leader Gary Barlow announced, “We’re a happy band right now. Robbie won’t be joining just yet.” D’oh!

by Mark Emge

When the post-Robbie Williams lineup of Manchester-bred boyband Take That regrouped for a tour promoting “Never Forget”, the 2005 singles compilation that included new old song “Today I’ve Lost You”, their success was far from guaranteed. It had been more than 10 years since their split, TT’s mostly teen female fan base would be pushing 30, and, well, the four remaining members weren’t boys any more. But not only was “The Ultimate Tour” successful at reconnecting the group to their core audience, it also rejuvenated an already meteoric career. Take That have gone on to perhaps even bigger glory since, with two hit albums and the jaunty new single, “Up All Night”, making them our Euro Express Spotlight of the week.

After press lightning-rod Williams abandoned Take That during the “Nobody Else Tour” upon discovering that he preferred Oasis’ dedication to partying over his own group’s dependable professionalism, the attrited quarter surprised even themselves when fans embraced the remaining tour dates and pushed their cover of The Bee Gees’ “How Deep Is Our Love” to No. 1. But writing met wall, and while Gary Barlow’s solo career out-charted Williams’ out of the gate, Mark Owen was the only other member to release music that was well-received by a segment of their original audience. The other two quietly disappeared; Williams went on to become a British institution and publicly feuded with Barlow; there was a great wailing and gnashing of teeth among Europe’s young women.

But never underestimate the power of putting someone on the spot while filming a TV documentary, and while participating in ITV’s “Take That: For The Record”, the various members (sans Robbie) aired their personal laundries and realized that their sum was greater than its parts. No one, however, could have imagined that the following album of new material, ’06’s “Beautiful World”, would go down as one of the greatest comebacks in pop-music history, the lads’ maturity and experience ensuring the songs’ relevance to the legions that had grown up with them. Listening, it was obvious that the remaining four were grateful for their second chance, and the fans rewarded Take That by purchasing 3 million copies of the disc.

Eager to prove their comeback no fluke, remaining members Barlow, Owen, Howard Donald and Jason Orange returned to the studio with American producer John Shanks (Melissa Etheridge, Bon Jovi, Stevie Nicks) and crafted “The Circus”, another set of mostly self-penned stand-outs that seamlessly transitions the former boyband into a still-sexy middle-age man-band, and sent them straight to the top of the UK charts, the second fastest album to sell 1 million copies (after fellow Mancunians Oasis). Become a part of the feel-good story at www.takethat.com.

by Mark Emge