Robbie Williams is an interesting phenomenon. In the 'States, he's almost a nobody. Just another one of those quirky British acts that showed up for a song or two and then disappeared. But here in the U.K. he's big. Really, really big! Maybe the most famous pop star of his generation.
When you see him perform on the telly, it's easy to see why he's been so successful. His 'X-factor' isn't his looks, or his charming mix of arrogance and self-depreciation. Rather it's in his performance. I don't know if I've ever seen anyone with such a magnetic connection to his audience. Despite the mocking irony which permeates his lyrics, he sells it by committing to it with a passionate sincerity that's hard not to admire. It's even more amazing that it works considering that he never for a moment pretends that it's not just an act. I suspect that this inherent contradiction is part of what makes it difficult for him to translate to an American audience. Americans tend to like their pop stars to believe their own hype.
His latest album Intensive Care just came out here. His previous album Escapology was a bit of a chore to learn to enjoy, but Intensive Care yields it's fruits pretty readily. The standout track is, not surprisingly, the first single "Tripping," which starts with a bed of disco-reggae, adds a generous helping of eastern tinged strings and a rap-over bridge. Plus a falsetto hook on the chorus that's so catchy it should come with a biohazard warning.
This genre blending does pretty much set the tone for much of the rest of the album. "Make Me Pure" is a fine example of his simultaneously cheeky, ironic, and sincere nature; a faux country ballad with a gospel chorus in the background and a lyric built around a prayer to God to "Make me pure, but not yet." "Advertising Space" is another lovely Robbie ballad that's already getting some airplay here as well.
The album does sag a little in the middle under the weight of too many midtempo ballads. But then the second half kicks in with "Your Gay Friend," an uptempo pop-rock song which is almost perky enough to be on a They Might Be Giants album. "Sin Sin Sin" sounds a bit like something lifted from Georgio Moroder's Donna Summer file. "The Trouble with Me" is another midtempo piece with a lovely melody that is almost certain to be the next single, and "A Place to Crash" sounds like Elton John wrote a song with The Rolling Stones and invited Styx in to do the backing vocals.
All in all, a pretty decent pop album. Not as consistently adventurous or successful as Gwen Stefani's Love, Angel, Music, Baby, last year's perfect disposable pop album, but certainly worth a listen.
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