Take the Crown

Robbie Williams is fighting for the crown of the music empire

Robbie Williams is one of those few who can afford saying openly that the time is right to grab the crown. Anyway, the title of the British and world show business star’s album, Take The Crown, is a straightforward announcement. On his way to the total domination, the prominent musician, sex symbol and troublemaker (you can change the order to your satisfying), could not avoid a couple of mistakes and missteps, but on the whole he has run the distance from the mid nineties up to now very decently. All in all, after what can be put mildly as the arguable Rudebox (2006), our hero went on to catching up with the time and recovering the losses. The British singer successfully took part in the Take That reunion and released a very fine solo record, Reality Killed The Video Star. Another three years later, the artist issued the album with a very ambitious title, Take The Crown, having placed on the cover an image of himself as a golden bust. But that is the way Robbie Williams is, and we need no other.

Can’t do without pop music

Take The Crown starts its march proud and confident, the only way appropriate for a release of an artist as ambitious as Robbie Williams. Be A Boy is quite an expectable track with a chorus for a stadium and a charm granted by a big saxophone line. Gospel is a track as impressive as the one before, whose dynamics and female back vocals make it a lot like Christian rock. On the other hand, guitars here are replaced by rich electronic arrangements, but we are accustomed to Robbie pretending to be a grownup who does not want to mess with the tricks of rock and roll. If you do not believe it, try single Candy, an extremely sweet and totally pop-fashioned song with such a tasty filling that it topped the British charts, which had not happened to Robbie’s songs for nearly a decade. What looks a fully logical continuation is Different, a good ballad which is a must for an album like this one. As if inspired by his past, Robbie delivers a track under a provocative title, Shit On The Radio, but words remain words, and this is not punk or at least rock and roll; it is just a quality dance track with a lot of electronica.

Echoes of the past and shadows of experimentation on Take The Crown

The second half of Take The Crown aims at those who will not be satisfied with the pop hits of the first. This is where fans of the old Robbie Williams can find pieces of what can please them as well. All That I Want does not boast great lyrics or melodies, but there are electric guitars ringing in it, which must cheer up old school fans. More noise and more energy come with Not Like The Others, as if borrowed from the singer’s first record. The quiet Hunting For You, and Into The Silence are filled with nostalgia. They have the mystique and thoughtfulness of British pop-rockers Robbie Williams one was a part of. Finally, it is worth mentioning that the album stores a couple of experiments. Hey Wow Yeah Yeah is about garage sound, meaningfully valueless lyrics and Williams singing in a distorted voice, which totals in a mix of punk and indie rock. The singer finishes the album in an original manner as he delivers an almost fully acoustic folk rock song Losers, a duet with American female vocalist Lissie. As a result, we have quite a varied album where Robbie made an attempt to please each and every one, and he seems to have accomplished the mission. The talent is here, the producers are professionals, and the music itself is fun and full of nice melodies.