Best of 2011: Albums

1. Adele - 21. This year, Adele's 21 proved resolutely that the pop album is not dead. That a young woman from Britain can release an album to near universal acclaim and appeal is really something, recalling the great pop albums of the '80s. In an era where tastes are sliced, diced, dissected, genred and market-tested to death, it's nice to know we can still all come together around something that we all like because it's just that good. Best: Someone Like You.

2. Lady Gaga - Born This Way. Lady Gaga is basically the polar opposite of Adele, but I have plenty of space for her and her dazzling third album in my year-end top 10. Born This Way was funkier and more ambitious than The Fame or Fame Monster, ultimately proving to be her best and most cohesive work yet. Even if the singles aren't all hitting #1 anymore, she's still got the touch. Best: Born This Way.

3. PJ Harvey - Let England Shake. This was the critics' favorite album of 2011, but don't let that stop you from enjoying it too. History buffs will appreciate Harvey's historical references to specific World War I battles. Music fans will just enjoy her eclectic mix of sounds and clever lyrics. Best: The Glorious Land.

4. The Strokes - Angles. This is the one album among my favorites that I'm surprised to see missing from most other year-end lists. I thought Angles, The Strokes' fourth album, was a winning return to form form the band many consider the most "important" of the '00s indie rockers, putting in some of their trademark simple arrangements but also exploring new wave and other territory. Best: Machu Picchu.

5. Foster the People - Torches. I'll give Torches the award for the year's best debut. Foster the People--aka this year's MGMT--dominated pop radio this fall with "Pumped Up Kicks," but their lively debut has lots of other gems from the indie band. I'm surprised they haven't scored a follow-up hit yet. Best: Helena Beat.

6. Will Young - Echoes. Here's one I'm not surprised isn't on a lot of year-end lists, but it's a shame, for Will Young turned out another fine pop album with Echoes, employing producer Richard X to give his love-spurned pop songs a pleasing electronic veneer. Best: Jealousy.


7. Coldplay - Mylo Xyloto. Coldplay continue to earn their keep on this fifth album. Although at times it feels that Chris Martin & company are too eager to please, they still churn out their brand of pop/rock uplift effectively. Best: Every Teardrop Is a Waterfall.


8. Florence + the Machine - Ceremonials. On their second outing, Florence Welch & co. rocked out with even bolder and better songs than on their 2009 debut Lungs, with a larger than life sound that proves everything and the kitchen sink can be a god thing. Best: Shake It Out.


9. The Weekend - House of Balloons/Thursday/Echoes of Silence. The modern R&B mix tape became a staple of 2011, as artists too cool for things like labels, albums and selling their music, took to the internet to give us free tastes of their remakes, remixes and original songs. The Weekend's House of Balloons was the best of that set, but his follow-up Thursday was interesting too, and although I'm just starting to enjoy his third set, Echoes of Silence, it's clear already that it ranks up with the other two. Best: What You Need.

10. Beyoncé - 4. With I Am...Sasha Fierce, Beyoncé proved she could put out a blockbuster two-disc concept album that stocked radio with hits and earned her critical acclaim at the same time. With her fourth album, 4, she didn't have to prove anything, freeing her to buck the electro trend and put out a mostly acoustic set ranging from the manic "Countdown" to the Prince-worthy "1+1." Although it didn't sell as well, it showed a great deal of artistry and continued growth. Best: Countdown.

11. Foo Fighters - Wasting Light. Along with Adele and Lady Gaga, this is one of three albums released this year nominated for the Grammy Award for Album of the Year. Although some said it was a surprise, I thought it was totally deserving, representing a solid set of muscular guitar-rock. Best: These Days.

12. The Decemberists - The King Is Dead. Gotta love a good indie band from my hometown, especially when they start the year off with putting out a great album like this. When I reviewed this album, I said they reminded me of a folksier, more backwater R.E.M. Best: Down by the Water.

13. St. Vincent - Strange Mercy. This was my first exposure to American musician St. Vincent, who put out this highly compelling set of eclectic and deftly produced tunes. Best: Chloe in the Afternoon.



14. James Blake - James Blake. Another important trend this year was dubstep, which, frankly, I still have trouble identifying, but apparently this was one example. Whatever you want to call it, I thought it was crafty, soulful electronic that recalled both The XX and Bon Iver. Best: The Wilhelm Scream.

15. Lykke Li - Wounded Rhymes. Joining the long line of Swedish pop tradition (Abba, Roxette, Ace of Base, Max Martin, Robyn) this year was Lykke Li, whose lo-fi production style was, in many ways, the antithesis of the usual Nordic gloss, but still with an ear for a good pop tune. Best: Sadness Is a Blessing.

16. Noel Gallagher's High Flying Birds. Sure, Oasis split last year, but they all kept making music. You'll find the rest of the gang further down this list. Both were very good, but I felt that Noel Gallagher's songwriting skills meant that his album was just a little bit better. Best: If I Had a Gun...

17. Take That - Progressed. Take That's album Progress was one of my favorite albums of 2010. In fact, it's one of my favorite pop albums of all time. This follow-up EP was a welcome second helping of that album's greatness. Best: When We Were Young.



18. Amy Winehouse - Lioness: Hidden Treasures. Posthumous releases should always be viewed with suspicion, but thankfully this one manages to be an appropriate tribute to an amazing singer gone before her time. Her modern take on '60s soul remains one of pop music's most interesting tricks in recent years. Best: Our Day Will Come.

19. Jessie J - Who You Are. Jessie J received so much hype that it would be hard for the singer to live up to it. And yes, her album wasn't "all that," but it was still pretty decent pop from the strutting "Do It Like a Dude" to the affecting title track. She's got a lot of people in her corner. Album #2 could be even more interesting. Best: Who You Are.

20. The Civil Wars - Barton Hollow. Like Isobel Campbell & Mark Lanegan, Robert Plant & Alison Krauss and Glen Hansard and Markéta Irglová, The Civil Wars achieves a beautiful alchemy with the tried-and-true formula of a male/female vocal harmony over a lovelorn folksy sound. And then they kicked up their heels with the album's title track. Moving and fun. Best: Poison & Wine.

21. The Black Keys - El Camino. These southern-influenced blues rockers from Ohio shifted their sound more toward classic rock & roll for this seventh album. More and more they sound less like the stopgap for The White Stripes' absence and more like that duo's worthy successor. Best: Dead and Gone.


22. Ed Sheeran - +. I didn't get around to reviewing this album, since I only recently got it (consider it a 4/5 rating). Although I wasn't initially sold on Sheeran via "The A Team," in the end, I was ultimately won over by his acoustic-leaning pop debut, particularly its more upbeat tracks. Best: Lego House.

23. Radiohead - The King of Limbs. That Radiohead's eighth album is more of an exercise in sounds than in songs means this album won't be for everyone, but for those who like Kid A and Amnesiac because of that, then should be up your alley. Best: Bloom.


24. Kasabian - Velociraptor!. Fourth album by British rockers Kasabian finds them mining familiar '60s territory but with a bolder take than on their last album. Best: Days Are Forgotten.



25. Death Cab for Cutie - Codes and Keys. For their seventh album, these indie rockers from Bellingham, Washington, make their sound lighter and more modern than their recent works. Hints of Arcade Fire permeate the buoyant title track with its deep mix of strings, piano, guitar, bass and drums. Best: Codes and Keys.

26. Bon Iver - Bon Iver. The last thing Wisconsinite folk singer Justin Vernon probably thought when he released his 2008 debut, For Emma, Forever Ago, was that a few years later he'd be a major influence in alternative rock music. Even Kanye West got into him. On this second Bon Iver album, he gets a little more adventurous and manages to still please, even despite the deafening hype. Best: Towers.

27. Gil Scott-Heron and Jamie XX - We're New Here. Serving as an effective stopgap before the hotly anticipated second album from The XX, its member Jamie XX remixed nearly every track from the late soul and jazz poet Gil Scott-Heron, reinterpreting his quirky, final spoken-word album into a satisfying dose of late-night electronica. Best: The Crutch.

28. Frank Ocean - Nostalgia, Ultra. Singer Frank Ocean has been tipped to be a major breakout star next year. This year, however, he's already racked up a lot of acclaim for his self-released mix tape, a winning mix of original songs and remakes where he sings over popular songs with his own new lyrics. Best: Strawberry Swing.

29. Fleet Foxes - Helplessness Blues. Like Bon Iver, this is another indie act that achieved significant acclaim with its folksy debut and followed it up this year with a second album of similarly great material. Title track "Helplessness Blues" proves that, like Mumford & Sons have shown, folk music doesn't equate always with slow and quiet. Best: Helplessness Blues.

30. Raphael Saadiq - Stone Rollin'. Retro R&B is a trend right now for sure, but with so many great examples of it, like this eclectic set from Raphael Saadiq, I'm not ready for it to end. Stone Rollin' is an eclectic, decade-jumping work with a of heart and soul. Best: Go to Hell.


31. Wilco - The Whole Love. Wilco's eighth album delivers much of the same from the band as what we've heard before--accomplished alt. rock with influences from country and '70s rock. But it's the dynamite 7-minute opener, which dabbles a bit in Radiohead Kid A electronica and delivers a 2-minute guitar solo, that makes this album worthwhile. Best: Art of Almost.

32. The Naked and Famous - Passive Me, Aggressive You. Although "this year's MGMT" ended up being Foster the People, New Zealand's The Naked and Famous auditioned for the role with this lively, at times moody debut of new wave revival pop. Best: Young Gun.


33. Kanye West & Jay-Z - Watch the Throne. Two kings of rap show they can effectively share the throne with this collaboration, one of the year's most hotly anticipated albums. As you'd expect, modesty is rarely displayed on this album chock full of ego and big-name guests (including two acts named above). Best: Why I Love You.

34. Beady Eye - Different Gear, Still Speeding. One fourth of the former Oasis is up at #16 and the rest are here at #34. It might sound corny to say these albums sound like brothers, except for the fact that they literally are made by brothers, so its fitting. Oasis fans should find solace in the fact that both albums are pretty great, with this being the bolder and more upbeat of the two. Best: If I Had a Gun...

35. Rihanna - Talk That Talk. Another year, another Rihanna album. On her sixth outing, the Barbadian singer continued global chart domination with her most risque work yet, continuing to churn out frothy dance pop and laid back island-inspired grooves. Best: We Found Love.

36. Britney Spears - Femme Fatale. Britney got her career back on track with 2008's Circus and she continued her hit streak this year with this unabashedly frothy dance pop album. She slowed down a bit for the album's final track, "Criminal," and that proved to be interesting too. Best: Till the World Ends.

37. Katy B - On a Mission. Those needing a lesson on contemporary dance music styles could do worse than listen to Katy B's debut album, on which she explores a variety of contemporary and (recently) retro dance styles, including dubstep, garage and drum 'n' bass. Best: Lights On.

38. Real Estate - Days. On Days, Brooklyn-based Real Estate's second album, the band churns out mellow and melodic rock. They don't produce much in the way of variety, but have a pleasant sound--the kind of music that's a nice soundtrack to a sunny Sunday afternoon. Best: Green Aisles.

39. Washed Out - Within and Without. Washed Out wears its influences on its sleeves--its ambient electronica evokes names like Moby and Chemical Brothers. Another "chill" album that lives up to that nickname. Best: Eyes Be Closed.


40. Glee: The Music Presents - The Warblers. With The Warblers release, Glee came as close as it may ever come to putting out a proper album, since the group, which is really actor/singer Darren Criss and Tufts University's male singing group The Beelzebubs, sing all these songs a cappella, effectively imitating a bevy of instruments. Best: Teenage Dream.

Worst Album of the Year

Moby - Destroyed. I supposed it's unlikely this is actually the worst album of the year. Hopefully I never had a chance to hear that. Still, I was awfully disappointed by this bland release, which only recycled his old sounds.

Album Review: Take That - Progressed (4.5/5)

Take That's Progress was a remarkable pop album, surprisingly forward-facing with its smart Stuart Price production. It was the Christmas season's biggest seller in the UK--spending 6 weeks at #1 to become the year's best-selling album. As wonderful as it is though, it's shelf-life has proven to be remarkably short, with the album's singles after "The Flood" failing to gain much traction.

So here comes an EP, Progressed, to rejuvenate the project just in time for Take That's summer tour. Sold as a double album, Progressed contains an EP of eight new songs plus Progress as a second disc. Here on in, I'm referring to Progressed only as the new material.

These are obviously leftovers from the recording of Progress, but as that album was so great, these cuts are in no way inferior, although they do at times sound like the Progress songs that made the cut. The opening synth chords of "The Day the Work Is Done," recalls the opening of "SOS," although it proceeds on a smoother melody, making it more like "Wait." "Love Love" has a stomping beat similar to "Kidz."

There's a bit more '80s flavor present here. "Aliens" in particular, which borrows its beat from Michael Jackson's "Thriller." It's certainly got a quick pulse to it. As does "Man," which, like some of Progress, recalls Pet Shop Boys.

The biggest departure from the Progress sound comes on first track, a gentle guitar-backed ballad "When We Were Young," which sounds like a very Robbie-esque song. It's an epic song that reminisces about the group's youthful years of massive popularity in the '90s. It's the only track that Williams provides lead vocal on.

Like the album, it's hard to pick standouts, since all the tracks are good, although I must say there's no hands-down standout like "The Flood." "Don't Say Goodbye" has a rather epic sweep to it, with sweeping cinematic strings blending with buzzing synths and a dance beat. It's moodiness is balanced by the breezier "Beautiful" and the gentle grandeur of closing track "Wonderful World."

As an EP, Progressed is not quite a wonderful as a full new album would be, but it's pretty amazing nonetheless and almost as satisfying as Progress was in its breadth, willingness to experiment (a bit) and top-notch production.

Best: When We Were Young, Love Love, The Day the Work Is Done, Man, Don't Say Goodbye

Take That - Progressed

I still listen to Progress a lot, but it's singles have cooled significantly on the charts. So...time for a follow-up EP. Here then is Progressed, eight new tracks including the X-Men movie tie-in "Love Love." Like Progress, all the tracks are produced by Stuart Price. Check it out June 13.

Take That - Kidz

Take That announced today that the second single from Progress will by "Kidz." Although rumored to be the case, it was also rumored to be "S.O.S." Although I like both songs, I agree that "Kidz" is the better choice.

Here's a video from their track-by-track series that talks about the song. I love that they are making so much information available about the making of this album. Between the documentary and these newer track-by-track videos, there's lots of great insight about their creative process.

Album Review: Take That - Progress (5/5)

The cover of Progress features Take That posed as the "ascent of man" diagram, a fitting title and image for their sixth album, which has Robbie Williams finally reunited with his former bandmates and represents another evolution in the group's sound. While the former was expected, announced months ago, the latter was not, making Progress not only an exciting album for Take That fans, but for fans of pop music in general. Where Beautiful World and The Circus were expertly crafted, lovey-dovey, ballad-heavy adult pop, Progress is messy, neurotic, up-tempo electronic pop. Truly exciting stuff.

The first half of the album is vocally collaborative, with Robbie, Gary Barlow, and to a lesser extent, Mark Owen, sharing lead duty on each song. It also has the more accessible songs, such as the grand first single, "The Flood," which is quickly becoming my favorite song of the year. The lovely "Wait" is a dramatic dance pop song with a '90s dance beat that recalls Jocelyn Enriquez's "A Little Bit of Ecstasy" and sad strings that sound very Pet Shop Boys. "Pretty Things" is lighter synth pop, a bit Erasure-esque. All of these are just great songs.

"SOS" and "Kidz" are more manic and dark, with the former tying together fuzzy synths and electric guitar amid Mark and Robbie's insistent vocals, and the latter going for a sort of '80s new wave electro with a marching beat and even fuzzier production. Either would make a good second single for the album. Lyrically, I'm not sure what these opening songs are about (even though I have the lyrics sheet!). They seem to impart general vibes rather than a coherent message--something a bit political (taking a cue from the recent Linkin Park album, there's a JFK sample in "SOS"), self-referential ("The Flood" sounds like it's describing some angst related to the band) and apocalyptic.

The second half of the album gives each member a chance at lead vocal, and thematically these songs are generally easier to wrap your head around, the exception being Robbie's "Underground Machine," during which he sings "oh what a beast, oh what a man" over ominous, strutting electro. It's a weird, but great song. Mark's "What Do You Want from Me" packs an emotional punch, especially if you're aware of his struggles with fidelity and addiction over the past year. Although he's said the song was written before those times, you can't help but think it informed his performance. "Affirmation" and "Flowerbed" find Howard Donald and Jason Orange struggling with their own personal insecurities over a pulsing dance beat and a softer electronic haze, respectively.

"Eight Letters" is worth special mention. It's clear that Robbie wrote this song, as it directly reflects his decision to leave the group and, looking back, how he never acknowledged his emotions when doing so, having been so angry at the time. Sure it's a bit sappy (the "8 letters, 3 words, 1 meaning" clearly mean "I love you"), but it's a nice catharsis to close the album. Importantly, despite the song representing Robbie's point of view, Gary sings the lead vocal, a tacit acknowledgment of them having healed the rift between them. If "Shame" was their way to wink and make up, "Eight Letters" is the more meaningful representation of their reconciliation. We can only hope it holds, so that in 2 years we get another brilliant follow-up album.

Worth checking out if you're really into Take That is the recent ITV documentary Look Back, Don't Stare. It covers the last year of the band's life from the time Robbie rejoined the group through the production of Progress, providing a deeper appreciation for this album and what it took to get the group to the point that it could make it.

Progress cements what I find most interesting about Take That. When the group was formed in the early '90s it was as a pre-packaged product (which the group acknowledges in Look Back)--a group of five fresh-faced young men who could sing (mostly) and dance (generally) well enough to sell a few records to teenage girls. Of course, they became a phenomenon, despite representing what many would call the worst impulse of mainstream pop music. Yet through the years they have evolved into genuinely talented pop musicians. Gary Barlow was always interested in songwriting, but through the years the others have become so as well. It's great to see (at least as depicted in the film) that their music has become a true collaboration, especially given that the dominance of certain members (Gary, this means you) was one of the principal reasons they broke up in 1996.

The band deserves much credit for this gutsy move away from MOR balladry to a more cutting edge, experimental sound. Credit Gary and company for their willingness to take the risk, Robbie for his penchant for pop weirdness and producer du jour Stuart Price for pulling them together into a bold, updated sound that makes the group sound fresher than they ever have before. After helming brilliant albums for Scissor Sisters and Kylie Minogue (and a less brilliant but still enjoyable album for Brandon Flowers), Price is undoubtedly the most exciting producer of the year.

Best: The Flood, Wait, Eight Letters, Kidz, SOS, What Do You Want from Me?, Happy Now, Affirmation

Take That - The Circus (2008)

Beautiful World was good, but The Circus was even better, pushing the band's adult pop sound in new directions with more upbeat songs and some '70s-style pop balladry. The album starts with "The Garden," which I know has its fans, but I've never been one of the them. I prefer "Greatest Day," the album's first single, which became the group's 11th #1 hit.

But the real fun begins about halfway through the album, with bright, upbeat tracks and ballads that rank among the group's best work, each of which is sung by a different member of the group. "The Circus" is a lovely, understated piano ballad sung by Gary. It sounds heartful and genuine, resisting the too common temptation to send the song soaring into the stratosphere with a wall of sound finale. "How Did It Come to This," a rare solo turn from Jason, bristles with energy (I still think it's a pop music crime that it wasn't a single). Campier "Up All Night" finds Mark leading the album's sunniest moment, a clear nod to "Shine," a #1 hit from their last album. Howard-led "What Is Love" is another quiet ballad that really takes flight with its gorgeous middle section. The album's end is good too, particularly "Hold Up a Light," another joyously upbeat track.

With The Circus, the group continued to hone its adult pop instincts to tremendously pleasing results. At present, having still not heard Progress, this is my favorite Take That album.

Best: How Did It Come to This, The Circus, Greatest Day, Up All Night, What Is Love, Hold Up a Light, Said It All (4.5/5)

Take That - Beautiful World (2006)

I used to not care for this album so much, but listening to it over the last week in preparation for this article, I've actually grown to appreciate it more. I still think it suffers from a bit of sameness among the songs, especially the first few, which all could be classified as mid-tempo, rock-leaning pop with quality, epic-sounding productions. But the songs are well done and enjoyable. Importantly, as pop songs they are top notch, with memorable hooks and great melodies. "Reach Out" is bright and confident; it's a shame it wasn't a single. "Patience" was the major hit, one of the group's biggest. The title track is similar to these two and could easily have been a single as well.

"Id Wait for Life" is another fine ballad; it's piano-based melody recalls the John Lennon-style ballads Oasis sometimes do, particularly their 2005 effort, "Let There Be Love." It's one of Gary's best vocal performances, and while he generally does lead vocal duty, the others all get a turn too. Mark Owen has some particular standouts, such as the swinging "Shine," the album's most uptempo moment, "Hold On," a slower song with a lush, romantic melody that recalls winter nights kept warm by the fire, and "What You Believe In," which delivers some string-laden sadness. Howard shines on "Mancunian Way" while Jason gets his first turn ever at lead vocal on folksy "Wooden Boat."

Looking back, it's amazing both how great this album is (it is among their best) and how well it did commercially, becoming by far their best-selling album and one of the 10 biggest albums of the last decade. Other bands had reunions, but none of them were nearly this successful (does anyone even remember at this point that Spice Girls reunited around the same time?). Beautiful World is a bold, confident step that credibly re-created Take That as an adult pop group. What a rare and exciting achievement.

Best: Patience, Shine, Reach Out, I'd Wait for Life, Hold On (4/5)

Take That - Nobody Else (1995)

Apart from "Back for Good," still the group's biggest hit, probably the best thing about Nobody Else is its cover, featuring posed actions figures of the group. Nobody Else was the end of the Take That, at least for awhile, and unfortunately they went out with a whimper rather than a bang.

The album abandoned the dance pop sound dominant on their first two albums in favor of a fairly even mix of upbeat, urban-leaning pop and MOR slow songs. Sure, these were two of the early '90s dominant pop trends, but by 1995, they sounded a bit played out. So after a pretty good start with both sounds--"Sure" embodying the best of the former and "Back for Good" the best of the latter--the rest of the album is a bit of a snooze. The only other thing that really stands out is "Sunday to Saturday," an upbeat, jazzy number that includes a surprisingly lengthy improvisational horn solo.

As far as I know, this was their only album released in the US, but by then the party was over. By the time "Back for Good" became a major US hit, Robbie had left and the band was just about to break up.

Best: Back for Good, Sure, Sunday to Saturday (3/5)

Take That - Everything Changes (1993)

A year after their debut, Take That came back with their second album, Everything Changes. By the time this came out, the group were bona fide stars, having scored a #2 hit with a new version of "Why Can't I Wake Up With You," plus #1 hits "Pray" and "Re-Light My Fire," which teamed the group with '60s pop singer Lulu.

Their second album had a more mature sound, but only slightly so. It was still dominated by dance pop, perhaps more akin to Cathy Dennis than the C&C Music Factory--less bubble gum, but still bubbly. The production moves toward urban too, appropriating some New Jack Swing sounds so popular in American pop at the time (see Color Me Badd). Overall, the production was better, as was the songwriting. The group even tried their hand at some genuine drama with the ballad, "Babe," which finds a guy searching for his lost lover (how hard that must have been before cell phones and Facebook), whom he finds...along with his son (surprise!).

A major thing that set Take That apart from other pop groups of the time was Gary Barlow. Not content to just sing other people's material, like most such acts did, Barlow actually wrote almost all the early era Take That songs, even most of the first album. That's pretty impressive, given the pressure to ensure hits often led to the producers of such group to seek material from established hitmakers. New Kids on the Block and Backstreet Boys, for example, only occasionally participated in songwriting.

Best: Pray, Re-Light My Fire, Babe, Everything Changes, Love Ain't Here Anymore (4/5).

Take That - Take That and Party (1992)

Continuing with the Take That festival, it's time to break out their old albums.

Take That's first was released in the summer of 1992, after the group had already put out 5 singles. It took awhile for them to catch on--their first three singles were not big hits, but by the time this came out, they had scored their first top 10 hit with "It Only Takes a Minute." Two more would follow later, including the ballad "A Million Love Songs."

Although love songs are characteristic of boybands in general, there are surprisingly few slow songs on this album. In fact, it's pretty high-energy dance pop not that different from what European "dance" acts of the time such as Haddaway or Black Box were doing. "Once You've Tasted Love," for example, has a very prominent dance beat. "It Only Takes a Minute" is also upbeat, although sounds more like something other later boybands would do.

"Could It Be Magic" has a retro-disco sound, complete with Bee Gees-esque harmonies. It's not a classic by any means, but it did its job to launch the group. Best: It Only Takes a Minute, A Million Love Songs, Once You've Tasted Love, Could It Be Magic (3/5).

Take That Timeline

Continuing with my Take That festival, here's a timeline of the group's major achievements;

Take That: The Early Years

1989-1990

• Nigel Martin-Smith forms Take That, who make their first TV appearance on The Hitman & Her.

1991

• First single "Do What U Like" released in July, stirs controversy for nudist video, fails to make significant chart impact (peaks at #82).
• Second single, "Promises," becomes first top 40 hit in November.

1992

• After missing the top 40 with third single, "Once You've Tasted Love," their fourth single, "It Only Takes a Minute" becomes their first top 10 hit in June (#7).
• First album, Take That and Party, is released in September. The album debuts at #5 and eventually peaks at #2.

1993

• The seventh and final Take That and Party single, "Could It Be Magic," hits #3 in January after a late 1992 release.
• At the Brit Awards, three Take That singles are nominated for Best British Single: "It Only Takes a Minute," "A Million Love Songs," and the winner, "Could It Be Magic."
  
• "Why Can't I Wake Up With You" is released in February and peaks at #2. Although a track from Take That and Party, the single is a new version that will ultimately appear on Everything Changes.
• In July, "Pray" becomes the group's first #1 hit; it debuts at #1 and stays there four weeks.
• The group teams up with Lulu for its October single, "Relight My Fire," which becomes their second #1 hit.
• Second album, Everything Changes, debuts at #1 in October and is the third-biggest album of the year.
  
• In December, "Babe" becomes their third #1, but it just misses Christmas #1.
  

1994

• "Pray" wins the Brit Award for Best British Single, the band's second time winning this award; they are also nominated for Best British Group.
• "Everything Changes" becomes the group's fourth consecutive #1 hit in April.
• Everything Changes' sixth and final single, "Love Ain't Here Anymore," hits #3 in July.
• "Sure," an advance single from their third album, becomes their fifth #1 hit in October

1995

• "Back for Good" spends 4 weeks at #1 in April. The song is the group's biggest hit, selling nearly a million copies and hitting #1 all over the world.
  
• Third album Nobody Else is released in May and becomes their second #1 album.
• The album's third and final single, "Never Forget," hits #1 in August.
• During the time "Never Forget" is being promoted, Robbie Williams announces he is leaving the group.
• Nobody Else is released in the US in the fall, featuring a new cover image without Robbie, eventually peaking at #69.
  
• "Back for Good" becomes the group's first and only US hit, peaking at #7 in November.
  

1996

• "Back for Good" wins Best British Single at the Brit Awards, their third win in this category.
• In February, the group announces that it is breaking up.
• A remake of the Bee Gee's "How Deep Is Your Love" is released as the group's final single in March, although without Robbie, since he'd already left. It spends 3 weeks at #1, the band's 8th #1 hit.
  
• Greatest Hits is released in April, which debuts at #1 and spends 4 weeks there.
  

Solo Careers

1996

• Gary Barlow releases "Forever Love" in July, which hits #1. A month later, Robbie releases his remake of George Michael's "Freedom," which hits #2.
• Mark Owen becomes the first group member to release a solo album, Green Man. Although the album isn't very successful, it generates two #3 hits, "Child" and "Clementine."
  

1997

• Robbie's second single and first from his upcoming album, "Old Before I Die," hits #2. The song is later nominated for the Brit Award for Best British Single.
• Gary scores a second #1 hit a month later with "Love Won't Wait."
• Gary's debut album, Open Road, is released in June and hits #1.
• Robbie releases his debut album, Life Thru a Lens, in October. It debuts at #11 and 2 weeks later falls out of the top 40, with its most recent single, "South of the Border" having peaked at only #14.
  
• Robbie releases a fifth single, the ballad "Angels." It debuts at #7, but shows surprising staying power (especially given the rapid chart turnover at the time), eventually climbing to #4 in early 1998. Although not a #1, the song goes on to become an enduring pop classic, selling over a million copies by 2009.
  

1998

• Gary and Robbie are both nominated for the Brit Award for British Male Solo; Finley Quaye wins.
• Re-energized by "Angels," and its #3 follow-up, "Let Me Entertain You," Life Thru a Lens climbs back up the albums chart, eventually hitting #1 in April. It is the year's fourth best-selling album.
  
• Robbie scores his first solo #1, "Millennium," and releases his second album, I've Been Expecting You, which is the year's fifth best-selling album (just behind Life Thru a Lens) and is nominated in 1999 for the Brit Award for Best British Album.
  

1999

• "Angels" wins the Brit Award for Best British Single, while "Millennium" is also nominated for that award and wins Best Video. Robbie wins Best British Male Solo Artist. He finishes the year with another #1 hit, "She's the One."
  
• Gary Barlow's solo career takes a turn for the worse when his second album, Twelve Months, Eleven Days, charts at only #35 and its first single, "Stronger," only reaches #16. His final solo single, "For All that You Want," hits #24.

2000-2005

• Robbie continues to dominate charts worldwide (except in the US) with hits like "Kids," "Feel," and "Tripping." He wins the Brit Award for Best British single in 3 consecutive Years for "She's the One" and "Rock DJ" following the 1999 win for "Angels," and is his 2000 album Sing When You're Winning is nominated for the Best British Album award. "Somethin' Stupid" with Nicole Kidman is the 2001 Christmas #1. All of his albums released during this period hit #1 and rank among the top 3 best-selling albums of the year (Escapology was the #1 album of 2002). He hits #1 with "Rock DJ," "Eternity," "Somethin' Stupid" and "Radio." In 2004, he releases a Greatest Hits compilation.
  
• Mark has a second solo album in 2003, In Your Own Time, with top 5 hit "Four Minute Warning."
• With his solo career on hold, Gary becomes a successful pop songwriter, working with acts like Blue, Alesha Dixon, Lily Allen and Delta Goodrem.
  

Take That: A New Beginning

2006

• Gary, Howard, Jason and Mark re-form Take That.
• Robbie's solo career falters a bit with Rudebox, which receives divisive reviews from critics and sells significantly less than his previous solo albums. Following this, he takes a 3-year break from recording.
  
• Take That's first single in 10 years, "Patience," is a massive #1 hit, spending 4 weeks at #1 just before Christmas (it gets knocked from the top spot by Leona Lewis's "A Moment Like This").
  
• The group releases its first album in 11 years, Beautiful World, to instant success. The album hits #1, generates two #1 hits, and goes on to become the group's best-selling album by far--8x platinum and one of the 10 best-selling albums of the 2000s in the UK.
  

2007

• "Patience" wins the Brit Award for Best British Single, the fourth win in this category.
  
• "Shine," the second Beautiful World single, hits #1 in February. It is the group's 6th consecutive #1 hit.
  
• A one-off single, "Rule the World," is released in October. It's kept from #1 by Leona Lewis's "Bleeding Love," but nevertheless is actually the group's biggest hit of its second era, spending 72 weeks on the UK singles chart (the fourth-longest run ever), and becoming the 30th best-selling single of the 2000s. The song appears in the film Stardust, although not on its soundtrack.
  

2008

• "Shine" wins the Brit Award for Best British Single, the band's fifth win in this category. Beautiful World is nominated for Best British Album, the first time Take That has been honored in that category. They also win Best British Live Act and are nominated for Best British Group.
  
• "Greatest Day" is released, becoming the group's 11th #1 hit.
  
• The Circus, the group's fifth album, is released and like its predecessor, is another big hit, becoming 7x platinum and the year's second-best-selling album, behind Duffy's Rockferry.
  

2009

• Robbie rebounds with Reality Killed the Video Star and hits #2 with its lead single, "Bodies," and #6 with its second single, "You Know Me."
  

2010

• Take That announces that Robbie will return to the group.
• Robbie and Gary bury the hatchet with cheeky duet, "Shame," a #2 hit released off of Robbie's 2-disc greatest hits compilation, In and Out of Consciousness.
  
• "The Flood" is released in November as the first single from Progress. It the group's first single to include Robbie Williams since "Never Forget" in 1995.
  
• Progress, the group's fifth album, is released to critical acclaim. It's upbeat, electronic production by Stuart Price signals a new direction for the group.
  

The Flood - Will it be #1?

On Tuesday, Take That's "The Flood" was in the lead for #1, but yesterday and today's midweek reports show it trailing last week's #1, Rihanna's "Only Girl." She apparently has only a 6000 lead right now though, which is really slim considering that both singles will likely move well over 100,000 copies this week. If you love this song and haven't purchased it yet, perhaps now is the time. I think it would be a shame (no pun intended) if "The Flood" isn't #1 on the UK singles chart this Sunday.

Preview Take That's Progress

British iTunes has 30-second previews now for all tracks on Take That's Progress (or you can listen via the YouTube clip below). Let's have a listen:

1. The Flood. Of course I like this one.

2. SOS. Very upbeat with a dance beat but also prominent electric guitar. Kind of a darker melody. I'm not entirely sold yet, but I've heard this song is really good.

3. Wait. This one has a sharp '90s dance beat, but the melody is very sweet and disco-ish. This sounds like an interesting one.

4. Kidz. Harder synth pop beat here, like something from the early-to-mid '80s. Also kind of dark sounding.

5. Pretty Things. Something lighter with a synth melody. Sounds a bit like Erasure.

6. Happy Now. More synth pop, although even dreamier than "Pretty Things." Sounds like Pet Shop Boys until the chorus starts.

7. Underground Machine. Prominent Robbie vocal with a marching beat and synth melody. More '80s sounds.

8. What Do You Want From Me? I see a pattern--more '80s synth-based dance pop sound. This sounds like it could be another standout.

9. Affirmation. More insistent dance beat with this one with prominent electronic melody.

10. Eight Letters. Finally a slower song. I guess with Stuart Price as producer you don't expect many (if any) ballads. Sounds like a good song.

11. Flowerbed. Dreamy synths and highly reverbed vocals on this one, another slow track.

The reviews I've read that say "The Flood" is the most conventional track here are probably right. Exciting and interesting stuff. I'm looking forward to hearing the whole thing.