Lopez Blogs

There was a time when Robbie Williams could do no wrong. I lapped up every single release and raved about them to anyone who would listen. Then just as I started my blog back in 2006, Robbie released Rudebox and my initial knee jerk reaction didn't fairly represent how devoted I was to his music. Rudebox was an experimental album and took me a while to appreciate it fully. Then of course Robbie took a break, Take That came back and the way music was marketed completely changed. So how does Robbie fair on his first album in 3 years? Pretty darn well...

What 'Reality' does incredibly well is manage to blend the sound of Robbie the Multi Million Album Seller almost seamlessly with Robbie The Experimental Music Man. It's commercial but not at the expense of innovation, wit and charm baked directly into each song. There's a consistency throughout the collection of songs that must partially be credited to Trevor Horn as producer. Strings are omnipresent throughout and there's enough diversity to stop it being repetitive or dull. Opening (and closing) track Morning Sun cleverly begins with just a piano to showcase Robbie's distinctive vocal before building up to a huge mid-tempo ballad that sounds ever so filmatic in it's production - like it could almost soundtrack the opening moments to some lush opulent heartbreaking movie. This leads instantly into the first two singles from the album - Bodies is well known by now. It's been pointed out that this song is every Robbie single to date packed into four minutes of music. This isn't an unfair argument, but it doesn't detract from my love of this song. It's more of an attention grabber than a brilliant first single and in that respect it certainly did it's job. You Know Me is pegged as Robbie's bash for the Christmas Number One slot. It's a doo-wop 60s influenced ballad and is quite lovely (at the BBC Electric Proms he merged the song with Unchained Melody quite wonderfully) and is a big important romantic ballad along the lines of Misunderstood and Advertising Space. Much like those two songs, I suspect that it will unfairly peak at number eight. Lovely piano twiddling at the end and a swoony outro make this a big winner with me...

Blasphemy is a gentle little ballad that initially reminds me of She's The One. I'm loving the placing of Robbie next to the piano at strategic points throughout the album - it lends an air of intimacy to balance out the big orchestral moments. Some clever lyrics ("No singles, just fillers") help Robbie lay himself raw for the listener and it's quite a nice experience. Was it a blast for you, because it's blasphemy, he sings about the ruined relationship. Exquisite. And then, blimey it's all change for Do You Mind - a song that is both frisky and flirty, while channelling influences of Marc Bolan and T-Rex. It's his brashest rockiest song since Old Before I Die and demands to be sung loudly (and inebriated) while stumbling out of pubs during this upcoming holiday season. It's a song to strut to and exudes cockiness and confidence - two things Robbie has always managed to pull off without alienating the general public (see Danyl Johnson). Experimental/Rudebox Robbie returns for the sheer amazingosity of Last Days Of Disco. Not only is it a sleek and loving tribute to the synth sounds of the 80s (done in a way that La Roux has never managed to pull off with such effortless ease), but Robbie's seductive vocal matches the muted beats perfectly. Don't call it a comeback, he purrs amidst a swirling orgasm of strings and it's hard not to fall in love with him all over again. And of course this being Trevor Horn, the middle 8 is vaguely reminiscent of Frankie Goes To Hollywood and conveys a slightly menacing air. Another genius moment.

Somewhere is a mini-track that bridges the first half of the album with the second. It's harsh strings and manages to pack more into 1 minute and 2 seconds than most pop stars cram into an entire album. It's almost theatrical - like a brief interlude by a narrator in a musical. "Someone, somewhere is loving you" he insists before the exiting stage left... Deceptacon (not the Le Tigre song) is vaguely pyschedelic in it's delivery and one can only imagine what it would look like if delivered through that girl who sees music in Heroes! It's entirely pleasant but not an instant favourite of mine - though I suspect that the more I hear it the more I will like it. Starstruck, however, is a different kettle of fish (whatever that means). It's his big George Michael tribute moment - like the dirty love child of Amazing and Fast Love. It's an elegantly produced uptempo moment, with just enough hint of weird production values to keep it exciting. I'm not sure what the British public would make of this if it were released as a single, but I can't help but hope it is - imagine the remixes and who wouldn't love to see Mr W do a proper dance routine to match the music? This song has such potential to be massive. Love love love.

Difficult For Weirdos is another stand out moment on the album - both complex and accessible, it's a massive 80s tribute that sounds not only like it could be a Robbie Williams single but equally at home coming out of the mouths of the Pet Shop Boys. It's a massive tune and benefits from a sophisticated arrangement. Superblind finds Robbie back doing what he does best - stunning heartfelt ballads where the music soars with his voice rather than overpowering him (as it would with a lesser performer). Perhaps the song that would most suit William Young on the entire album. And then it is sadly all over as Won't Do That closes out the album in a rowdy singalong moment that frankly leaves you begging for more. Perhaps the inclusion of Morning Sun (reprise) at the very end is designed to bring your experience full circle and send you back to the beginning to listen again. It works - I've been obsessed with the album for 24 hours and can't help but feel I'll be obsessed for a long time yet. If this is a comeback, it's certainly a triumphant one...

Potential singles: Bodies; You Know Me; Last Days of Disco; Starstruck; Blasphemy

Mini album reviews of Alexandra, Alphabeat and The Saturdays coming either later today or tomorrow!