Robbie Williams has had a time of it lately. The press trashed single “Rudebox,” proclaiming it a career-ending mistake. I can’t understand why. Sure, it’s disposable, but it’s silly fun. If left everyone guessing though about what the album would be like.
If Intensive Care was Robbie’s bid to be taken seriously, then Rudebox is a complete 180. This campy collection of electro, dance-pop, and remakes is so loaded with cheekiness that I daresay it may completely lack any seriousness at all, which makes it Williams’ most honest album yet. His public persona has always been over-the-top with a wink, so it’s nice to him finally make some music to match.
Take “She’s Madonna,” a Pet Shop Boys-produced ode to pop icon Madonna that namechecks a few of her songs (“The Look of Love” and “Frozen”). It involves Robbie forsaking some woman in favor of Madonna, who he proclaims that “no man on Earth” can resist, the implication being no matter if he’s straight or gay. It’s my favorite track on the album and sounds very Pet Shop Boys, with lush synths and electronic bass beats.
The other Pet Shop Boys-produced track is hilarious and makes me laugh every time I hear it. “We’re the Pet Shop Boys” was originally recorded by My Robot Friend as an ode (or joke) about PSB, who, being jokesters themselves, recorded their own version as a B-side in 2003. Now they hand it over to Robbie Williams and make it a duet with him. It just strikes me as very funny to hear Robbie Williams and Neil Tennant singing together “we’re the Pet Shop Boys.”
“Rudebox” itself is offensive, silly, meaningless, but irresistible. “To the rudebox, shake your rudebox” commands a woman while Robbie raps and a computerized voice sings the chorus. Spaceships are involved somehow too. The sci-fi theme continues on “Viva Life on Mars,” which includes banjo and an effect similar to what was heard in Deee-Lite’s “Groove Is in the Heart.”
“Lovelight” approaches something closest to a “normal” song. It’s a remake—one of several—and sounds like something George Michael would put out. Woman of the moment Lily Allen shows up on “Bongo Bong/Je ne t’aime plus,” which features more Robbie rap and some horns. It’s okay, not one of the better moments. “Kiss Me” is another fine moment, a remake of Stephen Duffy’s energetic 1981 single; Duffy being Williams’ principal collaborator on Intensive Care and the new tracks on Greatest Hits.
Odes abound on this album. Besides those to Madonna and the Pet Shop Boys, there’s also odes of sorts to drugs and actors. “Good Doctor” is an ode to prescription narcotics. I want “Xanax, Vicadin and Oxycotton,” says Robbie over a soulful organ and piano arrangement. “The Actor” is an ode to actors, or rather how annoying they can be. Robbie sings about how irresistible actors can be, even if they’re bad, while a woman spouts acting clichés (“all I have is my instinct”). Then Robbie raps off a bunch of actors’ names, reminiscent of Madonna’s “Vogue,” a list that includes Madonna Ritchie sandwiched between Judi Dench and Meryl Streep, which sounds like a slap, despite the ode a few tracks back. Fickle, isn’t he? I love how it ends: “Joaquin..Joaquin..Joaquin, Joaquin, Joaquin, Joaquin, SWANK!”
Despite the artifice, an RW trademark, Rudebox can be surprisingly personal too. “The ‘80s” and “The ‘90s” form an interesting couplet that tell first the story of his childhood and then life with Take That. They’re more interesting as stories than as songs. Both have Robbie rapping about his past (he’s talked about how he’s jealous of rappers, for their lifestyles). He can’t resist another jab at Gary Barlow, although he claims to have still loved him despite it being hard to get along with him. The song ends at around 1995, at Robbie’s lowpoint just before launching his solo career (which we all know bloomed beautifully in 1997 with the release of “Angels,” still his best moment).
Among all this experimenting, there are some experiments that just don’t work. “Louise,” despite being a Human League remake and produced by William Orbit, is a but dull (much better is Orbit’s other track, “Summertime”). “Burslem Normals” is about some graffiti gang in the town where Robbie grew up, and is similarly dull electro. “Keep On” opens with some nonsense about Motel Hotel and the Holiday Inn, while Lily Allen, in her second appearance, sings about how she loves her mom and dad. Robbie raps, lush keyboards come in. I’m not sure what to make of this eclectic mess, but it is interesting. That’s a good place to leave this. Rudebox is an eclectic mess, but a good mess, one that finally finds Robbie doing something different, fun, and personal.
Best tracks: Rudebox, Viva Life on Mars, Lovelight, She’s Madonna, The Actor, We’re the Pet Shop Boys, Kiss Me, The ‘80s, Summertime.
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