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Out of all the members of Take That, Robbie Williams never really seemed to fit in. Roguishly handsome where his bandmates
weremerelycute, Williams was tougher and sexier than the rest, which made him more distinctive. He also fought regularly with the
othermembers andtheir management, primarily because he was occasionally adverse to being so heavily packaged. So it didn't come as a
surprisethat he wasthe first to leave the band, departing early in the summer of 1995 to pursue a solo career (by some accounts, he was fired
fromthe group).
Although he was the first out of the gate, it ...read more
Out of all the members of Take That, Robbie Williams never really seemed to fit in. Roguishly handsome where his bandmates
weremerelycute, Williams was tougher and sexier than the rest, which made him more distinctive. He also fought regularly with the
othermembers andtheir management, primarily because he was occasionally adverse to being so heavily packaged. So it didn't come as a
surprisethat he wasthe first to leave the band, departing early in the summer of 1995 to pursue a solo career (by some accounts, he was fired
fromthe group).
Although he was the first out of the gate, it took Williams a while to get started. For most of 1995, he attempted to boost his
credibilitybytagging along with Oasis, hoping that Noel Gallagher would give him a couple of songs. He never did, but all of his time with
OasislaunchedWilliams into a world of heavy partying, drinking, and drugging. Over the course of 1996, he was only heard from in gossip
columns,andevery published picture indicated he had put on considerable weight. Occasionally, he was quoted as saying his new music
wouldabandonlightweight dance-pop for traditional Brit-pop, but his first single was a cover of George Michael's "Freedom '90." Released late
in1996, thesingle was a disaster, but his second single, 1997's "Old Before I Die," was more in the vein of his early pronouncements,
featuring adistinctOasis influence.
Williams finally released his first solo album, Life Thru a Lens, in 1997. The album became a big hit in Britain, prompting his second,
I'veBeenExpecting You, to go multi-platinum upon its release in 1998. (The Ego Has Landed, a U.S.-only compilation designed for
breakingWilliams toAmerican audiences, was released stateside in the spring of 1999.) Sing When You're Winning followed in late 2000,
gainingsuccess with thevideo hit "Rock DJ," while a big-band album of standards (Swing When You're Winning) appeared a year later. By this
point,Robbie Williamshad become one of Europe's premier pop stars, known for his headline-grabbing behavior as much as his hit-studded
albums.Moreover, hissolo work had sold far more copies than his work with Take That.
During 2002, Williams celebrated an enormous new contract with EMI (rumored to be upwards of 80 million dollars), but suffered the
lossofhis longtime production partner, Guy Chambers. Escapology, the fifth Robbie Williams album (and the last including Chambers'
input),soldmillions of copies in Europe, though it failed to persuade American audiences. As a result, the 2003 concert record Live at
Knebworthwasn'treleased in the States. He introduced a new musical partner, Stephen Duffy, with a pair of songs from his compilation
Greatest Hits,thenreappeared in 2005 with Intensive Care. Although the album topped charts in Europe and helped Williams set an impressive
concertrecord --his 2006 world tour sold over one-and-a-half-million tickets in one day -- a certain creative atrophy was setting in, despite
the newinputfrom Duffy.
Within a year, he had recorded and released Rudebox, a dance album recorded with half-a-dozen outside producers, some featuredguests,and
several covers instead of self-penned material. Rudebox hit number one across Europe but only went double platinum in theU.K.,becoming his
lowest-selling studio album to date. Accordingly, Williams' next album -- the 2009 release Reality Killed the Video Star --foundhim returning
to the sound of his older albums, with the Buggles' Trevor Horn handling all production duties.
The following year, most news of Robbie Williams surrounded his reunion with Take That, which took the form of a new album, Progress,
plusafew new songs recorded with bandmate Gary Barlow that were released on a new Williams hits collection, In and Out
ofConsciousness:Greatest Hits 1990-2010. Barlow also figured in the writing and production of the ninth Robbie Williams studio album, Take
theCrown,released in late 2012. Produced by Williams alongside Jacknife Lee (Snow Patrol, R.E.M., Bloc Party), the album saw Williams return
totheeclectic pop sound of his earlier work, with a trailer single ("Candy") written by Williams and Barlow. The single reached number
oneacrossEurope, including the U.K., as did the album, which was certified platinum. For his next release, Williams worked with Guy
Chambersagainon his second swing album, Swings Both Ways, which comprised a mix of standards and originals. Released in late 2013, it
featured avarietyof guests including Lily Allen, Olly Murs, Rufus Wainwright, Kelly Clarkson, and Michael Bublé.
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