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http://www.ilikemusic.com'Robbie Williams releases his highly anticipated and much talked about new album 'Rudebox' on October 23rd on EMI Records. 'Rudebox', recorded during the early months of 2006 see's RW collaborating with an array of musical mavericks including his heroes The Pet Shop Boys, King of ambient William Orbit, fellow Stoke natives Danny Spencer & Kelvin Andrews AKA Soul Mekanik, disco-house icon Joey Negro and NYC-based DJ cum-Über producer Mark Ronson, on both new original compositions and covers of some of his favourite tracks by artists as diverse as Manu Chao, The Human League, My Robot Friend, Lewis Taylor and old friend Stephen Duffy, that through its 16 tracks 'Rudebox' marks out and charts his musical loves and life. Led off by the title track and first single 'Rudebox', a nasty, dirty, bass infused electro-funk-pop monster, twisted around his own unique visceral lyrical stylings, the result is the sound of our Rob jamming the electro-boogaloo on a bustling New York street corner in 1983. 'Viva Life On Mars' is the world's country-space-funk-Technicolor-pop anthem. 'She's Madonna' see's Neil Tennant, Chris Lowe & RW forming their super-group and paying lovelorn homage to the first lady of pop, they also cover their Pet Shop Boys cover of My Robot Friend's 'We're The Pet Shop Boys', as we all know an imitation of an imitation is the very highest form of flattery. Mark Ronson brings his trademark horn-infused modern soul revue to four tracks on the album. 'Lovelight', a spectacular cover of Lewis Taylor's criminally unknown soul-anthem, takes it from its warm soul roots, and transforms it into a building euphoric disco anthem featuring a full-on falsetto vocal performance that ranks amongst his most dynamic to date. 'Good Doctor' complete with its hip-hop shuffle is a full on barroom-romp-cum-block party-jam set to a tongue in-cheek pharmaceutical theme. 'King Of The Bongo' reinvents Manu Chao's classic world-music original for a more decadent and debauched 2006, Whilst 'Keep On' (incidentally for fact fans - co-written once again with Stephen Duffy) is probably the most bombastic Robbie song ever, bustling with percussion, funk guitar licks, and exorcising the spirit of '89 and Baggy. He is also joined here and for 'King Of The Bongo' on BV's by the inimitable whirlwind that is Lily Allen. 'The Actor'is a stomping Germanic electro-pop anthem that fits equally as well on dancefloors, as it does lamenting Hollywood flunkeys whilst 'Kiss Me' takes Stephen Duffy's 80's classic and re-invents it as a Hi-energy electro pop anthem. Fulfilling a long-time ambition of a collaboration he joins forces with ambient legend William Orbit in recording two tracks here, 'Summertime', a fuzzy euphoric Balearic anthem that was actually one of the first songs he wrote when he went solo 10 years ago and an emotive and faithful cover of the Human League's 'Louise'. 'Louise' of course has been long documented as one of his favourite songs, and a muse in the construction of last years 'Intensive Care' album (which has now sold in excess of 6.5 million copies worldwide.) Inspired by The Mitchell Brothers, Ian Dury and Mike Skinner and their rolling Prowse and recorded into an I-book in Rob's bedroom in LA, 'The 80's' & 'The 90's', see him joined by long-term bass player Jerry Meehan to document 15 years of his life in song. 'The 80's' bounces along on to a braggadier's swagger that tips at a hat to the glorious days of early LL cool J, Eazy E, Flavor Flav in his own poetic biographical comfy-rap monologue. 'The 90's' documents the Take That years in a frank, personal and open display of sonic-catharsis over an uptempo pop classic. It's a powerful and reflective moment, and perhaps not the frenzied bitch fest that some might have liked. His rekindled song-writing relationship with Stoke's other finest musical exports Danny Spencer & Kelvin Andrews, who back in the day contributed to the writing of 'Rock DJ', continues here. Alongside 'Rudebox' and 'Viva Life On Mars', 'Never Touch That Switch' conjures up images of 80's electro dancing, breakdancing and days gone by, the final track of their four 'Burslem Normals' is an incredible strung out and personal electronic ballad. This is RW stripped down to his barest vocally and musically. 'Rudebox' already the subject of much speculation, ("the dance album"//"the rap album" // "the Christian rock album" yada yada yada and not the two fingers to his catalogue as some might suggest!!) see's RW on a musical journey of sorts, imbibed with a real sense of fun. Lyrically it is very broad; humorous, historical, honest and revealing, a rollercoaster that takes you from introverted to extravagant, the break up to the make up. This is perhaps the most definitive Robbie Williams opus to date, ten years down the line into his solo career, as his truest personal and musical inspirations collide to create an intimate and explorative sound that will surprise some, but after eight albums, this here is the sound of Robert Peter Williams, born 1974 in Stoke On Trent, UK. People who approach this record with the pre-conceived notion that "Robbie's gone dance," will be very surprised by 'Rudebox'- it is an incredibly assured electronic record, as much if not more influenced by hip hop, soul, p-funk, indie, baggy, acid house, early 80's electro house, and classic pop music as it is by contemporary 'dance' music. The sound is unmistakably fresh, yet unmistakably Robbie Williams! It could be no other. Fear not, this is pop, but not as we know it… "They might say its "dance" or it's "electro" but it's just what I like! It started off as a busman's holiday this time around, but it's become something on which I've found myself. I was just doing my YTS up till now," he adds. "It has become something on which I've found myself. This is the right direction for me personally, this is what it is. I saw the whole Robbie thing coming to a close as it was, I couldn't make another album like the ones I'd made, and this has just opened up a thousand other doors. What I am excited about now is making more music. I love all the stuff on the album, I love Rudebox, it's a favourite song of mine. I don't know what's gonna happen now, I'm excited about getting it out there, but I'm more excited about making more." 'Rudebox' is far from the end of Robbie Williams as we know it, but more a re-adjustment, a smile and a nod to the future. RW is in the midst of his record-breaking 'Close Encounters' World tour, which hits the UK in September. RUDEBOX TRACKLISTING: 1. Rudebox - produced by Soul Mekanik 2. Viva Life On Mars - produced by Soul Mekanik 3. Lovelight (Lewis Taylor cover) produced by Mark Ronson 4. King Of The Bongo - (Manu Chao cover) produced by Mark Ronson 5. She's Madonna - produced by Pet Shop Boys 6. Keep On - Produced by Mark Ronson 7. Good Doctor - Produced by Mark Ronson 8. The Actor - produced by Brandon Christy 9. Never Touch That Switch - produced by Soul Mekanik 10. Louise (Human League cover) - produced by William Orbit 11. We're The Pet Shop Boys - (My Robot Friend cover) - Produced by Pet Shop Boys 12. Burslem Normals - Produced by Soul Mekanik 13. Kiss Me - (Stephen 'Tin Tin' Duffy - cover) - Produced by Dave 'Joey Negro' Lee 14. The 80s - Produced by Jerry Meehan 15. The 90s - Produced by Jerry Meehan 16. Summertime - Produced by William Orbit 17. Bonus track - Dickhead - Produced by Jerry Meehan 'RUDEBOX' - Album is released on EMI Records on October 23rd 2006. The single precedes it on September 4th. :: ROBBIE WILLIAMS - RUDEBOX A Track By Track Guide :: "It wasn't till I was in the studio the other day listening to a few of the tracks back, I was with the Soul Mekanik boys and the thought hit me…Do songs like the ones you like, I'm eight albums in, why didn't I think of this before. Doh! I've just been scared to make this record before I think. My solo career started when the Britpop explosion did, and I thought, try and make songs that sound like that, but this is now…I'm 32 years old, eight albums in, and this is the record I've always wanted to make. It's the start for me. It's reignited how I think about what I can do with music myself. I've always been scared to try out different things and this album I think I've lost the fear of where I should be in my head as a populist, as a populist artist, and it means I can just go and do wonky pop now, which is all I really wanted to do anyway." It has become something on which I've found myself. This is the right direction for me personally, this is what it is. I saw the whole Robbie thing coming to a close, I couldn't make another album like the ones I'd made, and this has just opened up a thousand other doors. What I am excited about now is making more music. I love all the stuff on the album, I love Rudebox, it's a favourite song of mine. I don't know what's gonna happen now, I'm excited about getting it out there, but I'm more excited about making more." RW, August 2006 Rudebox Danny & Kelvin (aka Soul Mekanik) sent me the very basic drum track and it just became a floor shaker with lyrics straight outta Stoke on Trent. My heads been in some strange places and taken some strange exit turns since I was 16. When we get in the studio we gel and we know where we are going, we get excited when it's right. I think I'm/we're onto something. I just think the synchronicity of where we come from and how we are as people adds its own certain chemistry in the studio. It's a bit strange to be playing this live at the moment cos no one knows it and the venues are massive and playing something so leftfield can be quite daunting, it is something I haven't done on any other tour (played something no one knows) usually I am a big fan of give them what they want. This time I decided it is a case of give them what they don't know they want yet. Viva Life On Mars For me it is doing away with all I have been taught and instead of investing my faith in a Catholic religion, I decided that the fantasies on the internet are more interesting than the fantasies at the pulpit. I see it as 'Oh Brother Where Art Thou', meets Primal Scream when they were good; there has been 3 World Cups since then. Is this my first ever hoe down? A few hoes have bought me down before… Lovelight I wouldn't have known about Lovelight if it hadn't have been for Tom Middleton's 'The Trip' album - he put it on there, and I fell in love with it instantly…I can't believe how big that song is and no one knows it. It is amazing to work with a white boy with a ghetto pass like Mark Ronson. He is on the cutting edge of all that is good out there and still manages to love pop. I feel honoured to work with somebody that puts cynicism aside in favour of the truth. I was concerned about singing that vocal, because its full on falsetto all the way through it and I'd only ever done that on the chorus of a track called 'Tripping' that I did a couple of years ago. I knew that Lewis Taylor had done such a great vocal that it would be really hard to replicate but I think I did good singing… King Of The Bongo I didn't pick this song, It picked me…'King Of The Bongo' was played to me by a couple of friends of mine six years ago, and I always thought "I've got to cover this.." and now was the right time. 'King Of The Bongo' to me is like an unwritten Disney Film. How did Lily Allen end up on here? I knew about her as I had met her at the studio. The Lily Allen Phenomenon is not solely contained to the UK she seems to be doing well everywhere...good on her too. She's Madonna My life seems to be like a never ending edition of Jim'll fix it. I am truly blessed. The odds of Robbie Williams making a ninth album ten years ago would have been more than long against. To be writing this album and having my heroes work with me feels phenomenal. I played Tour De France by Kraftwerk and said "I like this, Can we do something like this, but not much like this," but then everything else came together pretty quickly. In case anyone asks…There is nothing tongue in cheek about this song at all, I have always fancied Madonna. I'd have hoped for it to be this good, but you can never tell before venturing into the studio. It is just a bonus that it worked out so well Keep On There were 3 things I taped off the TV that I used to watch on repeat when I was a kid- Prince's Alphabet St Tour, Public Enemy @ Brixton and The Happy Mondays at G Mex. I suppose I was interested in the Happy Mondays because they looked like psychedelic next door neighbours with faces and attitude that I understood. Little did we all know that in 2006 we would still be chasing 1989? I can't remember lyrics at the best of times, there are so many in this so I doubt I will ever do it live. It is about choosing a different kind of life and believing in the boogie and all it brings. Good Doctor Originally we had a sample from the 'Return of Django' by the Upsetters, but we got rid of that, but we could always do that later. Sorry The Upsetters…It came from trying to bend the rules of a sober life, I am 32 and am still trying to look for a short cut, there isn't one. Is it hard to rhyme all those medical terms? No but it is hard to find a perfect balance The Actor Partly written on Oscars Night, 'The Actor' is about living in LA, and how it has given me little respect for the acting profession. I don't see this as a dance song at all; I see it as a story over Germanic electro pop. Never Touch That Switch The first records I bought were electro records and I never thought in a million years it would be something Robbie Williams could do. It only struck me in the studio as we were recording. Although I didn't write this one it just reminded me of pre-narcotics and pro-stealing your mums' lino. What does it mean? I don't know, it is in the eye of the beholder. To me 'Never Touch That Switch' is all about never opening your system to the mood altering experience...you don't know what it can do to you. Louise When I was writing and recording Intensive Care with Stephen Duffy, 'Louise' by the Human League kept on being the centre point on what I wanted to achieve with the record. With Louise I remember when it first came out, and then I didn't listen to it for ages until the middle of the 90's. When I heard it again, it kind of broke my heart thinking of a period of time I had back when…I wanted to make an album that would hopefully break a few hearts in 10/15 years time. Louise was the template for the Intensive Care album, so it seemed the natural next step to play homage to it and I think we've done a good version of it. I'd always wanted to work with William Orbit, I love my ambient melancholy. We're The Pet Shop Boys I just love the fact that the Pet Shop Boys covered it, it is not one of their songs and I love the irony of me covering a cover. Above all that the romance for me in this song is paramount. Did I feel like a Pet Shop Boy when I was recording it? Yes absolutely (said with a big smile). Chris Heath (The person who co-wrote 'Feel' my autobiography with me) played it to me and I fell in love with it. I must say when I've listened to it back and when I get a chance to sing it, the "What have I, What have I, What have I done to deserve this" bit sends shivers down my spine, everytime it comes up. It's a sense of history, yours and mine and those particular lyrics really affect me. It's an honour to do it. I love the Pet Shop Boys and I was pleased to learn that amongst pop genii I can hold my own. Burslem Normals It is about an ideal of youth; It is about how in the 80's and the early 90's there were so many avenues to explore and so many gangs to be a part of. Youth Culture these days depressingly seems just about the Chav. Back then we had so much choice and the Burslem Normals was a piece of graffiti from the town I was born in, I don't know what they were into, but they sound cool as fuck.I have always liked what I like and it has always been varied and fortunately I find myself find a position where I do not have to pigeon hole myself. The sentiment in this song is the same as the sentiment in the song 'Heaven From Here' but wonkier. Kiss Me Stephen Duffy plays like he hates it; I wanted to do it as I wanted him to see how good the track is. Also when this track came out in 1981, something nice must have been happening to me at the time, because it makes me feel full of hope. Youth's yearning for life and love and all of that. Does he like it? I don't know, I daren't ask him. Ok, so I just asked him, and yes he does. 80s I was obsessed by a track by the Mitchell Brothers called 'Routine Check' and also a big fan of Mike Skinner of The Streets and what he does over records, be it rapping or poetry. Its very similar to Ian Dury's stuff to me, Im also a big fan of his, he was the first white British rapper. I've always always wanted to be a rapper, I've always been jealous of rappers because of how comfy they are and how cool they look, they've always got a tracksuit on and trainers and I have to dress up cos Im a popstar... I want to be a rapper but the world won't let me. The only reason I have craved my own niche is because it is not that easy. I love words and will continue to use them. It is bitter sweet about a decade where I formed an opinion, I was wrong. 90s The 90s on the other hand was, originally going to have a sample from one of my top 5 favourite songs…Wichita Lineman in it. I didn't like it at first, but I came around to it and did some poetry on it, some comfy rapping, with very English storytelling like a modern Roald Dahl but fatter! The 90's then on became the 90's after we took the sample out. I look back at it now with a fondness in my heart. I think they are just two nice bookends; 'The 80s' - up until I'd left school, lost my virginity, done all kinds. Then there was the whole Take That story to tell which was 'The 90's'. It's weird now, I've spunked all the best material so I'll have to do something drastic so that we have some source material for the next one. Summertime When it was originally written it was one of the first, if not the first songs I wrote when I came out of Take That and the feel of the song is a complete juxtapose of how I was at the time. When I wrote 'Summertime', which is a very euphoric, up song I don't think I could have been anymore depressed, deluded, lost. I remember I went down to London in a pair of Vivian Westwood tartan bondage trousers, a pair of black Patrick Cox and a lovely white Vivian Westwood shirt…I was skinny as, a right proper raver and I moved in with a lady on new years night, and by February I was just fat! fat and horrible and lost, all over the place. That was when I met up with Ant Genn and we wrote the song together, Ant was my indie enfant terrible; I adored him cos he was cool as fuck and Northern and funny, I wanted to be him, but drugs took their tole on both of us. At least I have a lasting memory of an amazing yet catastrophic summer, plus I love the fact that little bunnies freeze in the snow. Dickhead (Bonus Track) Dickhead was definitely leant from the Mitchell Brothers, so they are to blame for this whole thing. Conversely amongst my friends, Dickhead is the biggest compliment that can be paid, if I call you a Dickhead I like you, but it means the reverse on this record. Life sometimes seems to be a Krypton factor course of idiots, unfortunately idiots speak the loudest. This song is for everyone that thinks I am a Dickhead, I am just reciprocating, the feeling is mutual. Do the RUDEBOX, get your rocks off, lose your shit and get nasty…
www.rudebox74.comRelated links:
Robbie Williams - LovelightRobbie Williams - Rudebox singlewww.rudebox74.comRobbie Williams - Sin Sin Sin Copyright © 2001-2006. I Like Music. All rights reserved.'
