Thank God They're Back

Earlier this year I went to see Take That live; it was the best concert I have ever been to, an amazing spectacular of pyrotechnics, precise choreography and fantastic memory-filled songs. (The review's on the main LASH site.)

Last Monday the Manchester show that Gary, Mark, Jason and Howard performed along with Beverley Knight, Lulu and a troup of dancers was released on DVD, giving all of us fans a chance to relive that amazing night.


I can tell you my three male housemates were looking upon the evening with dread, knowing that I'd hijack the telly in the living room to watch the long-awaited gig. They began to look up with some interest as some female dancers in their underwear moved across the stage to the boys' singing. Then came the 'It Only Takes A Minute / Tango' spectacular and everyone was glued to the screen as the show started churning spectacular songs and dances that were truly breathtaking - see 'Apache 2006' and its amazing 'How to make a Boyband' medley...






By the end of it, the show had converted my housemates to full on Take That fans, they were amazed by the dancing and the huge scale of the show... and damn right too! Take That were and are exactly what a boyband should be; talented, good looking, personality-filled and seemingly lovely guys.

Westlife... please actually go and get lives. Sitting on a stool, miming and singing someone else's songs won't cut it anymore.

In other Take That news, how amazing is their new single Patience? I was completely sold on it when I heard it, with its big chorus and soulful and mature sound; it's everything we were expecting from the boys' comeback and more. It's good to have them back...

I Hate Those That Hate Me

Yesterday I heard Robbie Williams' latest controversial album Rudebox (out Oct 23rd), and after the reviews that seem to have split opinions in a million different directions I was pleasantly surprised, although this new Robbie definitely took some getting used to.

The album is a poptastic bubble of 80s synths, electronica old skool, and a splash of the old Robbie the UK knows and loves (and sometimes hates).

Stand out track for me on first listen has to be Kiss Me, a cover of a Stephen Duffy track which is begging to be played in gay clubs up and down the country. The intro sounds like a Nintendo theme song, eventually segueing into a tune Girls Aloud would be proud of.

The autobiographical tracks The 80's and The 90's see Robbie taking us through his thoughts and experiences of those two decades in his typical self-deprecating and brutally honest style. The 80s is a brilliant, cheeky and sadness-tinged retrospective of lost estate teenage life; Robbie trying to be The Streets... The 90s starts with the pain of failing his GCSEs weighed against finding out he was going to be famous.

"I think it's going to be like New Kids On The Block."

The backing track and chorus is reminiscent of the collaboration he did with One Giant Leap, his relaxed chat-rap style relaying his stardom and demise into depression. It's both fascinating and heartbreaking.

Burslem Normals sees Robbie at his quietest, a remarkably chilled out tribute to his teenage years. I adore this song.

We're The Pet Shop Boys is a cover of a My Robot Friend tune, and Williams does a remarkable impression of PSBs on the record, getting them in for production and backing vocals. A cool tribute.

Never Touch That Switch is a wonky, funky tune full of electronica beats, distorted vocals and more than a tinge of the Timberlakes about it. I can't help but move to the beat of it when it starts.

All in all, it's a brave new direction for Robbie. It's obvious he's loving this chance to do something different and his enthusiasm flows from this record with abundance. There are great tracks, growers and some fillers, and it will definitely continue to split opinion for some time to come.

In my opinion it's great; a breath of fresh air from the usual guitar-filled anthems he sometimes just seems to churn out.

Robbie's got his money, now it's time for him to do something he loves. He's earned it.

Much Fantastic Music!

I'm Back!

Now I'm living in London and writing more Lash! Hurrah, it's good to be back...

Anyway, lets get onto some important music recommendations: today I wandered down to Fopp and picked up some excellent new(ish) albums...

First on my list was Joan As Police Woman - Real Life:

With appearances from Joseph Arthur and Antony (of himself and the Johnsons) this haunting, gorgeous group fronted by Joan Wasser makes beautifully chilled-out music. Wasser's voice is clear yet husky and reflects a cacophony of subtle moods throughout the record; something I'd recommend you listen to as the seasons change and Britain gets cloaked in a duvet of grey clouds...

Bat For Lashes - Fur And Gold: Natasha Khan's dark soulful voice evokes black satin, kohl-lined eyes and the newly-fashionable mature gothic look... Don't be put off by the fashionable and well-timed nature of Khan's entrance onto the music scene, she's one of the most enjoyable British female artists I've heard for a long time. I was transfixed by the changable nature of her voice that magically transported me to dreamy, fantastical far-off plains.

Last, but not least, I bought Beck - The Information: Beck is a long-time favourite artist of mine so I'm slightly biased when I listen to his music. Rather than download this one I thought I'd buy it because of the funky stickers and 'create-your-own-album-sleeve' marketing genius. Full of funky beats and electronica hooks, The Information is an exceedingly listenable journey into the not too distant future; experimental whilst not losing too much of his familiar style, this album is the perfect thing to listen to whilst you design and create (the album cover or anything else you might like to do...)

Three stunning albums. All highly recommended!