đŸŽ” How Good Are They Really đŸŽ” Robbie Williams

Music
534

Popped this top 20 into a playlist and went for a walk. Right enjoyed it.

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535

Feel isn’t high enough and Strong is far too high, but yeah, decent list that.

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536

Come Undone is an excellent pick for best Robbie song, it’s a masterwork

Really enjoying this current re-evaluation of the works of Robbie

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537

No Regrets is such a great song.

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538

The bit about Lovelight being a Daft Punk song is bob on. Could have come straight off Random Access Memories. Never paid it much attention before, it’s a banger

539

Oh he better not doing all orchestral versions when I see him

540

I doubt he will, he knows exactly how all that material works best. Also, you know Robbie - if it was going to be orchestral it would be ‘An Evening With Robbie Williams and the Fantastic Burslem Orchestra’ or something, and all the promo would be him in a tux. He can’t resist it.

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541

Picturing this and really chuckling, it’s spot on

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542

Totally forgot about Tripping, good song

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543

So tempted to go and see him live

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544

Do it mate, see you at the arena

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545

Just went past Knutsford Services on the M6 and now I’ve got this stuck in my head


546

Would be amazing in the Sunday afternoon hits slot at Glasto wouldn’t he

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547

Some really great bits in this

Our conversation has turned to Damon Albarn’s much-criticised assertion, made back in January, that “Taylor Swift doesn’t write her own songs” and that her co-writing “doesn’t count”. Robbie, who has co-written five of his seven Number One singles to date
 erm – well, let’s just say that he doesn’t agree solo songwriting is more credible than collaboration.

“I think that when people say that,” he muses, “what they’re actually doing is having a wank about themselves. It’s true! You know, it’s like, why don’t you cut the middle man out – just get a few ribs removed and give yourself a nosh, you twat!”

When Robbie agreed to a few DJ gigs in Ibiza recently, he assumed he’d just be expected to spin the tunes and enjoy a brief respite from pop stardom. It didn’t work out that way.

“The first gig I did,” he says, “was 2000 people screaming, stood still, staring at the stage. I was like, ‘Oh
 fuck! I’ve still got to entertain them! Shit!’ It was so weird. I was dancing and smiling like a loon, and then I got my Mac on the stage.

I was Googling, ‘What do garage MCs say?’ It looked like I was setting up the next track, but I wasn’t. I’d get on the mic and go” – he puts on an authoritative DJ voice – “‘Inside! This one’s for the ladies! Watch for the drop!’” I was actually just reading it off the screen.

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548

Lovelight is a tune

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549

Angels version ranking

  1. Horne Section version
  2. Beethoven AI XXV version
  3. Standard XXV version
  4. Original
550

I hadn’t heard this before, it’s wicked

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551

Yeah but did you get a load of the Horne section version.

552

No, but I am about to


And it’s great!

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553

Some of the arrangements on XXV are ace, She’s the One is great

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