Album Download Chart [review]

Quoted from: http://www.musicbox-online.com

'Some of the key album releases during this hectic, two-week period have included new sets from Robbie Williams, Badly Drawn Boy, and John Mayer as well as the wider distribution of a collection of rarities by PJ Harvey. Robbie Williams' declining popularity has been documented quite heavily over the past few months, and many critics in the U.K. have been poised for the slightest hint of a slip-up. Unfortunately, Rudebox will do little to stem the tide, and it undoubtedly will provide even more ammunition for the British music press. At 17 tracks in length, the outing superficially appears to be a good value, but in truth, it is an overly long affair that is full of both inferior filler material and uneven cover songs. Even many of the original tracks are uninspired.
On Rudebox, Williams, more than ever, misses the writing skills of his former production associate Guy Chambers. Escapology was the last album on which the duo worked together, and though the split was noticeable, the collection nearly rose above the dissolution of their partnership. With Intensive Care and his latest effort, however, Williams' reign seems to have come to an end. The set features a number of attempts at the sort of white, urban rap that was developed quite excellently by the likes of The Streets and Arab Strap — The 80s, The 90s, and the title track, among them — but Williams just cannot pull it off. He persists in trying to make everything humorous, and in doing so, it sounds as if he is trying to cover up his obvious lack of authenticity as well as his inability to perform in this style. By scattering a myriad of '80s references throughout the endeavor, Williams chases the latest disco/pop-revival bandwagon, and it feels like an act of desperation rather than an homage to the genre. Both of his collaborations with the Pet Shop Boys (She's Madonna and We're the Pet Shop Boys) will do little to enthuse fans of either artist. The final straw is a ridiculous rendition of the Human League's Louise on which Williams' comical impression of Philip Oakey mocks rather than respects the nearly legendary Sheffield outfit. On the other hand, Williams' high-energy remake of Stephen Duffy’s Kiss Me undoubtedly will become a huge hit, and it already is a contender for the #1 slot during the crucial Christmas shopping period. Although the few remaining tunes do adhere more closely to the style that once brought success to Williams, it's only on the single Lovelight and the tracks Summertime and Viva Life on Mars that he offers a glimpse of the hunger that inspired him during his early years.'