Album Review: Take That - The Circus (4.5/5)

Take That are quickly proving that there can be a second life for boybands reincarnated as "manbands," although they are leaving all their competition in the dust. Backstreet Boys had some success with their 2005 re-emergence, but its follow-up failed to catch on. New Kids on the Block's reunion staged a popular tour, but little chart success. Same with Boyzone, who didn't even bother to make an album.

The Circus proves that Take That's reunion isn't a novelty or quick cash grab (although they've surely made a mint), but the real deal. I didn't pay much attention to Beautiful World aside from its massive hit singles "Patience" and "Shine." This time around I wanted to pay the album proper attention, and I haven't been disappointed. In fact, The Circus is rather good. The production is top notch and the inspirations broader than I would have expected.

The strongest songs actually appear in the middle and latter parts of the album. "The Garden" is a rather weak opening. It has a soaring arrangement of strings punched up with horns and snare drums at the moment they start singing about soldiers. It's okay, but predictable. First single, "Greatest Day" is better, but the most interesting stuff is still the come. The upbeat production (and Mark Owen vocals) of "Hello" recall "Shine," but don't achieve quite the pop frenzy of that great single. "Said It All" pushes the band's sound closer to that of a rock band--big electric guitars and piano underscored with acoustic strumming and strings. It's not bad, but Coldplay could phone this in.

It's with "Julie" that the album suddenly gets interesting. The song opens with a slight country flavor--twangy guitar and piano--before ascending to the usual bombastic production. "The Circus" is a magically beautiful ballad composed of haunting piano chords, lush strings and Gary Barlow's falsetto singing, which takes a light touch here. It sounds like it should come from the soundtrack to some '70s-era romantic film--perhaps following a breakup scene, where the male lead wonders around Manhattan with this playing.

Then the mood shifts with "How Did It Come to This." It's upbeat, jaunty rhythm and rapid-fire vocal delivery is irresistible. Jason Orange gets a chance at lead vocal too, a nice change from Barlow and Owen who do most of the lead work. "Up All Night" is also fun and upbeat, but in a more swinging way, I daresay akin to something from Scissor Sisters. The deep horns in the background recall a carnival-like atmosphere.

Back to the sad stuff with "What Is Love," another weepy strings/guitar/piano melody. Not as good as "The Circus," but it has a decent melody and a really great middle section where the melody shifts just slightly when the harmonized vocals come in. It's a nice moment that makes this song. "You" is similar--lush sweeping love ballad.

"Hold Up a Light" is another standout in the veering-toward-rock-band sound. It starts quietly and you know something big is coming and pow--it does with the wall-of-sound chorus backed by guitar, drums, piano, strings, etc. The song exudes warmth and confidence. "Here" is the last official track, a genteel mid-tempo number with a good does of guitar in the chorus and a dramatic "big finish" ending. Hang on for the cheeky calypso bonus cut "She Said."

It's amazing how far past their mostly unsuccessful solo careers these four guys are now. While there is little in the way of innovation here, where the goal is making confident, accomplished pop music, there is a remarkable amount of achievement. I didn't expect to like this album, but in fact I love it.

Best: The Circus, How Did It Come to This, Up All Night, Greatest Day, Hold Up a Light, What Is Love, Julie