- CD de audio (23 de noviembre de 2010)
- Imported ed. edición
- Fecha de lanzamiento original: 3 de diciembre de 2010
- Número de discos: 1
- Formato: Audiolibro, CD, Mejorado, Importación
- Sello: Polydor Ltd.
- ASIN: B003VYAVGA
- Disponible también en: CD de audio
- Valoración media de los clientes: 5.0 de un máximo de 5 estrellas Ver todas las opiniones (4 opiniones de clientes)
- Clasificación en los más vendidos de Amazon: nº30.511 en Música (Ver el Top 100 en Música)
Progress Audiolibro, CD, Mejorado, Importación
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Descripción del producto
El 22 de Noviembre se pone a la venta, tal vez, el disco más deseado en los últimos años de la historia de la música –PROGRESS - el nuevo disco de TAKE THAT.
10 nuevas canciones interpretadas por Gary Barlow, Howard Donald, Jason Orange, Mark Owen y Robbie Williams, TAKE THAT, ahora todos juntos.
La reunión de reuniones tuvo lugar en Nueva York el pasado septiembre, después de la exitosa gira “The Circus Live”, gira que batió todos los récords de venta de entradas. Poco después, la formación original de Take That empezó a escribir y grabar las seis canciones que sentaron la base para este PROGRESS, álbum producido por Stuart Price.
Después de 20 años después que debutaron como grupo Take That se han convertido, con los años, en la banda británica más vendedora. Sus dos álbumes anteriores fueron los disco que más rápido se vendieron en UK, Las entradas para sus conciertos se agotan en minutos. Sus conciertos son el Mayor Espectáculo de Mundo.
Lista de canciones:
1. The Flood
5. Pretty Things
6. Happy Now
7. Underground Machine
8. What Do You Want From Me?
10. Eight Letters
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Very rarely is an album these days released in the midst of a strong wave of anticipation and excitement. Ever since British "boyband turned manband" Take That announced that former band member Robbie Williams had returned to the band after 15 years and that they had recorded their first album as a quintet since 1995's "Nobody Else", there was a mass hysteria that swept both the international media and Take That fans worldwide off their feet.
Ever since the band made their public announcement of their new album "Progress", fans surmised that there would be a stylistic shift for two primary reasons:
a) Musically, Robbie Williams is a very different entity and his influence was bound to manifest itself in the overall sound of the new album.
b) Electropop/dance oriented producer Stuart Price (famous for production on Madonna's "Confessions from the dancefloor" and Seal's "System") was at the helm of production.
Fans got their first sneak preview of the album around six weeks ago with the airing of "The Flood" (the album's lead single) on radio stations worldwide.
This mid-tempo track with its soaring chorus features Robbie Williams (lead) and Gary Barlow on vocals. It is hands down the best Take That single since "Never Forget" (1995). The somewhat cryptic lyrics suggest that the song might be about the band's new-found camaraderie as a quintet. The song acts as a perfect musical bridge between the music of the 4-piece Take That (sans Robbie Williams) and the rest of the material on "Progress" - which is markedly different from "The Flood".
After having listened to the album once, the following observations come to mind.
a) The overall "sound" of the album is a mix between that of The Killers' "Day and Age" and Robbie Williams' "Rudebox" album.
b) Frontman Gary Barlow has taken quite a backseat vocally. "Eight Letters" is the only song featuring solo vocals by Barlow.
c) Robbie Williams and Mark Owen sing lead vocals on most of the album.
The album's highlights are:
Wait: The track opens with lush string arrangements and suddenly breaks into electronic beats and a catchy verse which slowly blends into a beautiful chorus which features the band harmonizing like they never have. Robbie Williams dominates vocals on the track. "Wait" definitely feels like a track that could have been on Williams' "Rudebox" album.
Eight Letters: This is the achingly beautiful ballad that fans have secretly waited for since "Back for good" (1995). Gary Barlow sings over gentle and lush electronic embellishments which slowly lead to the uplifting harmony-filled chorus.
The Flood: A lot has been said about this undeniably brilliant lead single - and hence, by saying more, I would simply be repeating myself.
The one song that could have been a highlight is "Happy Now". Stuart Price has outdone himself with the production on this track - one that you can imagine playing as you get ready to hit the town on a weekend night or while driving along your city's main drag with the windows down and the car stereo volume all the way up. Unfortunately, the boys decided to go with a mildly robotic variant of their voices as opposed to their actual voices on the verses. This is a significant detractor. Unlike most artists of today, Take That does NOT need a vocoder. I suppose even the best artists need to be forgiven for their artistic misfires which are probably just a result of childish enthusiasm - which is understandable given the recent revival of the band and its fortunes.
Given all that has been said so far, one might wonder what my verdict on the album is so far. Well, the radical shift in musical style might have a polarizing effect on Take That fans. Fans of the adult alternative/MOR sound on albums such as "Beautiful World" and "Circus" may not warm up to the album and will almost definitely blame Robbie Williams for his disproportionately large input to the album (although the recent Take That documentary seems to indicate that Gary Barlow is still very much the leader of the pack when it comes to the music).
In my humble opinion, Take That has done themselves a huge favor by reinventing themselves. They truly have made "Progress". A rehash of "Beautiful World" or "Circus" would have spelled the end for them. This would be a shame given that the band is easily one of the biggest success stories in pop music history.
Some may perceive "Progress" as a "happy ending" but I see it as the start of new beginnings and musical endeavors. With this album, Take That has single-handedly challenged assertions about the limited shelf-life of a boyband. Boybands as fad-based entities fade but strong musical entities will stand the test of time amidst all the negativity of pop music critics.
Take That does not run a risk of becoming irrelevant anytime soon and if they choose to release more albums together, I am all ears.
"Standing on the edge of forever, on the edge of whatever" go the opening lines of the opening cut the theatrical lead-off single "The Flood" with an anthemic chorus and Williams and Gary Barlow on lead, followed by the frenetic "SOS' with Williams and Mark Owen on vocals and a whiff of Killers. "Wait" has an electro beat and ghostly flourishes, while Williams and Owen again lead on the Muse-style glam stomp "Kidz" set to crunching martial beats.
The fluttering "Pretty Things" is more subdued with Williams and Barlow singing over a Bowie-style pulse, while the dark throbbing "Happy Now" has a chorus rising above the gloom. "Underground Machine" is a gritty Funk Rocker, "What Do You Want From Me" features Owen singing almost autobiographical apologetic lyrics about his philandering set to a Beatles-style bounce. "Affirmation" is a frenetic Pop/Rock song again with shades of Bowie and Howard Donald on lead, and closing are the ballads "Eight Letters" with Gary Barlow and the hidden stripped floaty Jason Orange song "Flower Bed".
This is the best Take That album yet, and it has already set records in their native UK where it sold over 500,000 copies in a week earning the best first week sales yet this century.
Progress, true to it's name, is surprisingly a sophisticated pop album, an instant classic if you may, loaded with psychedelic pop, electronic experimentations, collaborations from the entire group, Gary's vocals popping up here and there with a few verses, and finishing off the record on lead vocals with the infectious Eight Letters, a song written by Robbie Williams about his sudden exit from Take That in 1995, and other songs about youth, politics, revolutions, and Take That.
And it comes as no surprise that Robbie is dominant on most of the tracks. After all, he is the only major international superstar within the group, and hasn't been on the last 2 Take That albums. The second most dominant on the album is surprisingly not Gary, but Mark Owen who, since penning the UK number 1 hit Shine, has become a major contributor.
The album opens with first single The Flood, a song about Take That with Robbie and Gary sharing lead vocals, which starts off with Robbie singing "Standing on the edge of forever, at the start of whatever, shouting love at the world", before the song gets even more incredible with Gary singing the bridge leading into the song's soaring chorus with all 5 members harmonizing like they've never done before "although, no one understood, we were holding back the flood...they said we'd never dance again" SOS, a Mark Owen and Robbie Williams duet, is another top notch tune which is the most early-Take That sounding track on the album. Wait, a song that Robbie must have left off of his electronic album Rudebox, fits in well, tinged with references to the bad blood that developed between the bandmembers in the mid 90's, "Wait, there's something that I wanna say, something that we hid away, something I would like to change" Kidz, one of my favorites, is Mark Owen's psychedelic pop epic, with Gary crooning the chorus about kids coming out and causing trouble. Pretty Things is possibly one of Robbie Williams's greatest ballads, with touches of Angels and She's the One. Happy Now is an upbeat electronic Robbie Williams/Gary Barlow lead track. Affirmation is Howard Donald's classy house/electronic song. Underground Machine is Robbie Williams's rock edged sequel to Let Me Entertain You and Man Machine. What Do You Want From Me, one of the highlights on the album, is Mark Owen's deeply personal, somewhat optimistic yet angry, message to his ex-wife, with some biting lyrics like 'I still wanna have sex with you, I still wanna go out with you' The album comes full circle with Eight Letters, another personal message written by Robbie but sung by Gary to the rest of the band, which in my opinion is Take That's most enduring song they've made since Back for Good, and will definitely become the band's concert-closing anthem during their upcoming tour, "we became the parade on the streets that we once cleaned, expendable soldiers smiling at anything", on his feelngs when he left the band, "and when I went away, what I forgot to say, was all I had to say, eight letters, three words, one meaning", and looking back at what happened from a different perspective "you can look back but don't stare, maybe I can love you out of there" Finally, there's the hidden track, Flowerbed, Jason's brilliant guitar-laden ballad, to close up the album on a sweet note.
By hiring electro producer Stuart Price, and by showcasing each band member as a full-fledged songwriter, Take That have made an album that is light-years beyond their boyband past. The return of Robbie Williams looks to be mutually beneficial, both to the group and Rob himself. Freed from carrying the spotlight alone, he mixes quite well with the lads and although his presence is palpable on some tracks, for others he seems content to remain in the background.
Gary Barlow only sings lead on the gorgeous "Eight Letters" (and intermittedly on other tracks) but was reportedly quite heavily involved in the album's production, while Jason Orange, Howard Donald and Mark Owen each get their chance to shine during the record. Robbie opens the album with the trailer single "The Flood", sounding every bit the superstar and yet somehow also content to be back among the Take That fold.
By issuing such a sophisticated, modern pop album, Take That have shown that they have not only made progress in their personal relationships with each other, but also have become a world-class pop act. This is a shrewd move, and a welcome return.
** UPDATE (Jan. 2011): Recent events indicate that the Robbie/Take That reunion may be temporary after all. Williams has been conspicuously absent from recent high-profile Take That events, and Gary Barlow has made public statements indicating that he sees Take That's future as a 4-piece band. Time will tell of course, and they would not be the first band to function with multiple personnel lineups, but in the meantime "Progress" stands as a best-of-2010 album and a great modern pop recording.
*** UPDATE (Dec. 2011): It has been announced that Robbie has indeed left the band again, although this time on good terms after their very successful 2011 tour. It will be interesting to see how his next solo album sounds, and how the remaining members of Take That carry on once again as a four-piece. One hopes that all five continue the excellent creative and musical direction presented on "Progress."