Take That - Progress Review

The biggest question of the year we could ask (OK, maybe not, but stick with me here!) is whether ‘Progress’ is a ‘Take That’ album or a ‘Take That feat. Robbie Williams’ album. Well, whoever you think recorded it, there’s no doubt that Robbie has firmly stamped his mark across the album, whether it’s his vocals being the most dominant across all eleven tracks or the much more electronic and, dare I say it, interestingly produced feel to the album compared to the usual ‘Take That’ fare. Whether that’s down to Mr. Williams’ influence or the work of Stuart “The Killers” Price (an excellent producer) remains to be seen, but whatever the reasons behind the outcome of the sessions between the singers, who must have seen the sessions as a bonding session as much as a recording session, it’s an album that blows a lot of this year’s increasing stale music out of the weather. Yes, an album, from a boyband, is one of the top of the year.

This ‘Robbie Williams feat. Take That’ album kicks off with lead single ‘The Flood’ which benefits from a fantastic singable chorus and a tangible feeling of water throughout which blends seamlessly into ‘SOS’, surely the band’s second single, which continues the theme of the album being the child between the experimental ‘Rudebox’ and Robbie’s latest ‘Reality Killed The Video Star’. Featuring a tempo and attitude not dissimilar to ‘The River’ by ‘Good Charlotte’, the track explodes into life between Williams and Owen and sticks in your head immediately, especially with the morse code themed backing and the use of repetition in the chorus and the ending with Owen.

There are many other highlights to the album though. ‘Wait’, though not as good as the other tracks, is pleasant enough, whilst ‘Kidz’ is a thumping anthem of a track which surely will set the crowd alight at their 2011 concerts, and ‘Pretty Things’ is a catchy ballad.

Likely third single ‘Happy Now’ takes a bit to get going, and is definitely inspired by Robbie and is as cheerful as the track suggests. Following ‘Underground Machine’, another Robbie-led track, comes the second mention of ‘Progress’, this time led by Mark Owen and seemingly about his personal problems rather than the band’s progress as a whole. On this track Owen shines and you can feel the emotion when it gets to the chorus.

‘Affirmation’, Barlow’s chance to shine, is not the track by ‘Savage Garden’, but another song on the album with a memorable chorus. If ever there was an album to show the band can write a catchy, speedy chorus then ‘Progress’ is the one.

Tenth track ‘Eight Letters’ and hidden eleventh ‘Flowerbed’ see two traditional ‘Take That’ ballads that bring the album to a satisfying conclusion.

As a dedicated Robbie fan I’m glad to hear that the band have taken an influence from him rather than the other way round and this influence and the excellent production from Stuart Price make this one of 2010’s strongest albums, proving that the former boy band have broken from their manufactured shackles to make a truly interesting LP. Progress indeed.