Take That are renowned as one of the UK’s most successful and best-loved boybands. Propelled by their clean-cut image and Gary Barlow’s songwriting talent, they enjoyed huge success in the 1990s before returning, a decade later, as a four-piece — achieving even greater and more enduring success.
Back in the early 90s, the band’s songwriting was largely a solo effort from Barlow, who quickly gained a reputation as a gifted and mature writer.
What many might not realise is that several of Take That’s best-known hits were heavily reworked or remixed before their single releases. Here, we take a look at some of those transformations.
It’s been an exciting time for early noughties pop fans with the news that the rough-and-ready, brilliant boyband Five are reuniting as a full five-piece for the first time since their 2001 split. While the band have had various line-ups over the years, this marks the first time all five members are back together.
I liked Five as a child, but as an adult, I’ve come to appreciate them even more. I’ve always loved their singles, but over the past few days, I’ve delved into their full discography, listening to and thoroughly enjoying all three of their albums—far more than I expected!
To celebrate their reunion, I’ve ranked some of their best songs. It’s a mix of singles and album tracks, with a few notable omissions—no ‘We Will Rock You’ here!—and some personal favourites that just missed the cut. But here are my Top 15 Five songs.
We finally made it to the end of February! This month was largely spent lazing around, recuperating from illness, and devouring boyband documentaries… and I think that influence is clear here. However, this selection isn’t just about the classics. Instead, it highlights some of the more overlooked gems in boyband history. So, without further ado, let’s dive in!
After the arguably unexpected success of first album as a trio ‘III’ and three years later, Europe’s favourite boy man-band have returned with an intriguing and some-what confused new album.
‘Wonderland’ is exactly what is says on the tin – it’s a flamboyant, dizzying album full of up-tempo Pop. But whereas ‘III’ was an amalgamation of Take That’s sound (the Pop-Rock of Beautiful World and The Circus, fused with the electropop of Progress and a fresh Pop sound) ‘Wonderland’ attempts a more brash, disco-pop/indie-pop sound. It’s more successful on some tracks more than others.
The album’s title track, which opens the album is arguably the best song present. Its oriental, simmering introduction evolves into a funky 1980’s themed track. Musically, its captures the spirit of material by The 1975, though its lyrical content makes it stop short. On similar levels of camp abundance, ‘Lucky Stars‘ is effortless pop perfection with its squeaky synthesizers whilst ‘And The Band Plays‘ relies on bizarre co-ordination between electronic instruments and a brass band. It’s all undoubtedly a lot of fun, though it does scream ‘Mid Life Crisis’.
Singles ‘Giants‘ and ‘New Day‘ are classic Take That and are sturdy tracks with soaring choruses. In fact, the album’s best moments are when the band relies on their well-known and well-loved sound. ‘Hope‘ is a stunning ballad in a similar vein to the band’s best ballads ‘Said It All‘ and ‘The Circus‘. ‘The Last Poet‘ lyrically returns the Take That boys back to the top of the game with the beautifully simple ‘For you I can’t find words’ whilst musically it matches the triumph of ‘The Circus’ and ‘III’ albums. Then there’s the electronic brilliance of ‘Every Revolution‘ which serves as ‘Affirmation‘ Part II. Donald’s vocals shine as always whilst dizzy synthesises soar in the background. It’s a lovely track, though one bound to be lost in the fun of the rest of the album.
The fact is, for any other band or artist, ‘Wonderland’ would be a triumph. But after years of solid pop albums, for a Take That album, it just stops short of being another classic. It’s a little too brash – a little too carefully plotted for arenas to stand on its own as a successful album. Then there’s the lyrics. Much of the album documents getting over unmentioned issues which is nice enough but it also feels a little half-arsed at times. ‘Every morning it is a brand new day’ is a nice enough lyric, though by the end of ‘New Day‘, one feels like telling Barlow ‘Tell me something I don’t know’. At times, the album feels over-brash, over-thought and over-produced. On many of the ballads, Barlow stands too close for comfort to the microphone, presumably to capture a raw sound, though it just sounds like he needs to take a step back.
For all its flaws, ‘Wonderland’ is not a bad album. Far from it, in fact. There’s plenty of substantial material here and is a fun listen. It just happens that it isn’t Take That’s best work.
Rating: 3/5 Highlights: Wonderland, Giants, Hope, The Last Poet, Every Revolution.
As a huge Thatter, every Christmas I hunt for festive Take That-related material. I thought it’d be great to put all of my discoveries in one place for all Thatters to look through. This is by no means definitive but there’s a good range of festive Take That content here! If you have any videos or images you think I have missed then feel free to let me know so I can add them here 🙂 Enjoy and Merry Christmas!
VIDEOS
Take That – Babe (Live & Kicking 1993)
Take That live on Live and Kicking back in December 1993 singing ‘Babe’.
Take That – Pray (Top of the Pops Christmas)
‘Pray’, performed on Top of the Pops at Christmas time.
Take That – Silent Night (Live Beautiful World Tour)
Whilst usually beginning live performances of ‘Pray’ with the middle eight, on this particular occasion it was replaced with a gorgeous version of ‘Silent Night’ before launching into their first ever UK number one. Awesome!
Take That – Jingle Bells (Live Beautiful World tour)
Another festive clip from the Beautiful World tour in which Take That sing Jingle Bells whilst Howard plays the trumpet.
Take That – Marks & Spencer Christmas Advert
The brilliant M&S Christmas advert from a few years back!
Take That – Greatest Day (Top of the Pops Christmas)
Greatest Day performed on Top of the Pops Christmas special.
Take That – Festive Message 2010.
Take That’s festive message from 2010. Howard looks extremely happy 😉
Take That – These Days (Top of the Pops Christmas)
‘These Days’ performed on the 2014 Top of the Pops Christmas special.
Take That – Turning on the Regent Street Christmas Lights
Take That turning on the Regent Street Christmas lights in 2014.
Gary Barlow: Let’s Pray for Christmas
This song was a runner up entry into the BBC’s Pebble Mill at One Christmas song competition and is one of the oldest clips of Captain Barlow in existence. Boy, has Gary come a long way from this!
Gary Barlow: Happy Xmas (War is Over)
This is Gary Barlow performing a cover of John Lennon’s ‘Happy Xmas (War Is Over)’ on a TV show in the late nineties.
Gary Barlow: CBeebies Bedtime Story 2010
An absolutely adorable clip of Gary appearing on CBeebies during Christmas 2010. He reads an Elmer story.
Gary Barlow & Coldplay: Christmas Lights
Gary Barlow joins Coldplay onstage (admittedly rather briefly!) to sing the beautiful ‘Christmas Lights.’
Gary Barlow & Michael Buble: Home & Rule The World
Gary singing ‘Home’ and ‘Rule The World’ with Michael Buble on Michael Buble’s 2011 Christmas special on ITV.
Gary Barlow, Tulisa, Nicole Scherzinger & Dawn French: Fairytale of New York
A pretty comical clip of Gary being joined by the legendary Dawn French, the awesome Nicole Scherzinger and the… well, Tulisa. Great version of ‘Fairytale of New York’.
Gary Barlow – We Like To Love (Live on Text Santa)
I’ve always found this song rather wintry anyway and this was reinforced when Gary performed this on Text Santa.
Gary Barlow & Loose Women – Text Santa
Comical sketch involving the Captain and some of the Loose Women!
Peter Kay’s Geraldine McQueen – Once Upon a Christmas Song
Gary Barlow co-wrote this with Peter Kay himself. It was released in 2008 and reached Number Five on the UK Singles chart. All proceeds went to NSPCC.
Donny Osmond – Christmas Time
Co-written by Gary along with long term collaborator Eliot Kennedy.
Mark Owen – Child (Live Top of the Pops Christmas)
Mark Owen performs his hit single ‘Child’ on Top of the Pops Christmas back in the late nineties.
Mark Owen – Lantern
Mark Owen performed this still unreleased original track at a Charity event a few Christmas’ ago.
Mark Owen wishing a fan a Merry Christmas
Pretty self explanatory!
Robbie Williams – Walk This Sleigh
Robbie Williams’ tongue in cheek version of a Christmas song.
Robbie Williams & Nicole Kidman – Somethin’ Stupid
An amazing version of a Frank and Nancy Sinatra classic, Robbie reached Christmas Number 1 in 2001 with a little help from Nicole Kidman with their version of ‘Somethin’ Stupid’.
Robbie Williams – Happy Xmas (War is Over)
Robbie Williams singing John Lennon’s ‘Happy Xmas (War is over)’ – The Take That lads sure love this one!
Robbie Williams – Merry Xmas Everybody/Merry Christmas Everyone
Taken from last year’s performance for Radio 2, here’s Robbie singing the Slade classic ‘Merry Xmas Everybody’ and ‘Merry Christmas Everyone’ by Shakin’ Stevens.
Robbie Williams – Candy (Live Top Of The Pops Christmas)
Not really Christmas but Robbie performed ‘Candy’ on the TOTP Christmas special last year.
Robbie Williams – Different (NYE Top of the Pops)
Robbie performs the brilliant ‘Different’ on a New Years Eve Top of the Pops special.
Robbie Williams – Soul Transmission
This isn’t strictly a Christmas track although christmas is mentioned so I think I can be forgiven!
Robbie Williams – The Promise
Robbie refers to this as his Christmas song so I thought it worthy to be included in this post.
Robbie Williams – Dream a Little Dream
This is Robbie’s interpretation of a classic, released at Christmas time with a festive video.
GALLERY
Take That get their Christmas jumpers out with Reggie Yates and Fearne Cotton for the 2014 Christmas Day Top of the Pops Special.(Broadcast on BBC1-2pm, Thursday 25th December) Photo by Mark Allan EMBARGOED UNTIL 20/12/14
Upon its original release in December last year, ‘III’ was a pivotal moment in Take That’s career. Now a three-piece following the shock departure of Jason Orange and Robbie Williams returning to his solo career, the band and general public were somewhat apprehensive of the band’s future. They needn’t have worried. ‘III’ flew straight into Number One, breaking the record for the most pre-ordered album in Amazon’s history and was later certified platinum. A sold out UK arena tour followed and Take That validated their persistent presence as one of the UK’s most successful bands.
Almost one year later, ‘III’ is still as bold and buoyant as it was upon release. ‘These Days’ remains a piece of pop perfection with its Nile Rodgers Chic-like guitar riffs, disco stomping percussion and tight harmonies. 2015 addition ‘Hey Boy’ follows the same formula, mirroring camp 80’s disco. Lyrically, it’s rather lazy in comparison to the rest of the album and Owen’s rap-like vocals are questionable but the track is incessantly funky, glimmering with Greg Kurstin’s polished production. Kurstin also steers the ship on other golden pop moments on the album. ‘If You Want It’ is a sleek pop track featuring gorgeous shimmering synths, euphonious layers of harmony and a kick-ass beat whilst the poignant ‘Freeze’ mourns the departure of Jason Orange through a dramatic ’80’s synth-pop track.
‘Progress’ producer Stuart Price returns on the more electro moments. ‘Let in the Sun’, one of the album’s highlights, is reminiscent of material by the likes of Calvin Harris; an EDM influenced track featuring gorgeous moments of falsetto by Barlow, rousing lyrics and an energised chorus. Lead vocal duties are generously handed to Owen on ‘Lovelife’, an effervescent electro track with a Parisian-sounding melody, acoustic guitar strums and stomping percussion. ‘Into The Wild’ is a dramatic and powerful track on which Take That channel The Killers, featuring eerie electro sounds, tribal drums and Owen’s distinctive bass vocals. A bizarre union of ‘Shine’ and ‘Underground Machine’ is found on ‘I Like It’, a bouncy and mechanical track which features synthesised bass, funky guitar riffs, Bee-Gee-like falsetto harmonies and as many production effects as Price can possibly toss into the mix.
Price knows how to induce softer moments in the album too. ‘Portrait’ begins tentatively with Barlow’s falseto fluttering over gentle guitar strums and timorous synthesisers before before Donald and Owen join the fold in a catchy Barber-shop-styled ‘ba ba ba ba ba ba ba ba’ chorus. The lush layers of harmony and giggling synthesisers are a lovely touch in Price’s production and it’s a gorgeous, uplifting track. Howard Donald lends his lead vocal to ‘Give You My Love’, a mellow pop track which is reminiscent of Barlow’s keyboard frolicking on 1993’s ‘Everything Changes’.
John Shanks, producer of the band’s ‘Beautiful World’ and ‘The Circus’ albums brings a more organic sound to the album. ‘Flaws’ is a raw, classic Barlow-ballad which sounds as if it could have been an outtake from Barlow’s ‘Since I Saw You Last’ solo album. It’s a welcome break from the intensity of the album and a lovely track. Original album finale ‘Get Ready For It’ is a euphoric pop-rock stadium anthem abundant with ‘woah’ hooks, crashing percussion and fierce guitar strums. Shanks is also responsible for producing the bonus tracks: invigorating anthem ‘Believe’, Beatles-esque ‘Amazing’ and the spectacular power ballad ‘Do It all For Love’.
Elsewhere, Take That allow lesser-known producers to experiment with their sound. In-demand but still largely unknown producers Mattman and Robin sprinkle their magic on conventional Take That ballad ‘Higher than Higher’, another of ‘III’s’ highlights. Precarious percussion, a mesh of broken vocals and jittery synthesisers open the track before it stabilizes into a steady marching beat. Barlow delivers perfect, tender vocals whilst Donald and Owen provide gorgeous harmonies which reverberate endlessly into the spaced-out, meticulously programmed R&B track. Their ‘higher, higher than higher’ harmonies in the track’s finale somewhat bizarrely emulate an African choir but is one of many lovely touches in its arrangement and production.
Profound power-ballad ‘Will You Be There for Me?’ is comprised of descending percussion, soft plucked acoustic guitars and lavish layers of harmony. Produced by unknown producers AFSHeeN and Josh Cumbee alongside German hitmaker Toby Gad, it’s a moody R&B styled ballad with a brilliant vocal performance by Barlow. It’s yet another change in sound for Take That but one which works perfectly and is without a doubt the best of the new tracks from the 2015 edition.
WTNSS, a duo consisting of Charlie Russell and Bradley Spence, lend their production expertise to final two tracks ‘Carry Me Home’ and ‘Bird in Your Hand’. Evidently Owen’s choice of producers (the duo worked on his 2013 ‘The Art of Doing Nothing’ solo album), they bring another dimension to the album. ‘Carry Me Home’ is a folk-styled pop track featuring tribal drums in the same vein as ‘Into The Wild’, metallic guitars and an epic chorus. Once again, harmonies are diligently layered to great effect and Owen’s distinctive falsetto vocals are particularly lovely. Final track ‘Bird in Your Hand’ is a delicate piano-synth ballad on which the band’s vocals reverberate infinitely. It’s a gorgeous song which mirrors hidden Progress track ‘Flowerbed’. The track is noteworthy for featuring the song-writing credit of the late Michael C. Corson, husband of a Thatter. His lyrics found their way to team Take That and elements were used in the final product.
‘III’ has maintained its ability to impress. Whilst the new tracks don’t necessarily contain the sturdiness required to be single-release material, they are a hugely enjoyable addition to the album.
A triumphant album featuring an eclectic amalgamation of material.
Rating: 5/5 [Both original album and 2015 updated version.]
Highlights: These Days, Let in the Sun, Portrait, Higher than Higher, Freeze, Flaws, Do it all for Love, Will You Be There For Me, Bird in Your Hand.
‘III (2015 Edition)’ is available now on Polydor Records.
On 8th June 2015, after minimal sleep, I hopped on board a rather early train from Brighton to London to see my favourite band live at the O2 arena. It had been four long years since I last saw Take That, then a five-piece and performing to a sold-out Wembley Stadium, on their Progress tour. Evidently much has changed since then. Despite minor apprehension due to the inescapable fact that my second favourite member Jason Orange would not be onstage and sleep deprivation, I was exceptionally excited.
Much had changed for me too since 2011’s Progress Tour. Last time I had seen the boys, I was sixteen years old, had just finished sitting my GCSE’s, attended the tour with a friend I’m no longer in touch with and was positioned towards the back of Wembley Stadium. Four years on, I am now an adult (eek!) and a university student. I had a great time at Progress Live but being so far away, I spent most of it in envy of those standing close to the stage, particularly when the guys went and said goodbye to audience members during ‘Eight Letters’. I also spent far too much of the show absorbed in taking photos and videos and not being in the moment. Unfortunately, we were also surrounded by utter fools. Nobody stood until Rob came on, the family in front kept looking at each other in horror every time Rob swore (I know, they evidently weren’t familiar with Rob’s stage persona…), I got a dirty look for practically hyperventilating when the boys came onstage, the couple next to us spent 90% of the concert snogging and those behind appeared to just be there for a day out. So when it came to seeing Take That on their next tour, I vowed to do things completely differently. And that, I did.
I purchased the hat in self-parody of myself and to stand out… Bizarrely, I think I managed to pull it off!
For this tour, I decided to go with full-on, die-hard Thatters like myself. I am lucky enough to have many friends who also love Take That but not quite to the same level as me. So this time I went with Kim & Andy – two of my favourite people on Twitter, two amazing friends and two people with a mutual appreciation of the boys. It was my first time going with Thatters and I plan to continue to do so in future! Eight hours of queueing passed amazingly quickly with them both aided by multiple trips to the toilet, to see other friends, purchasing tea and buying merchandise. The second difference this time was that for the first time I was not going to be high up in the venue. I was not going to be at the back. I was not going to be surrounded by people merely at the show for a night out. I was going to be standing. And not only standing but in the front pit! FINALLY! I’d always been apprehensive about doing so before, mainly because of being an Olympic worrier fearing needing the loo or not having enough water or feeling rammed in by everybody. But after my experience at Progress I craved to be around other Thatters – people who are actually familiar with all songs, lyrics and share my levels of excitement. Plus as we all had quite a shock with Jason’s departure, I learnt to take nothing for granted when it comes to Take That and vowed to experience the tour from as close as possible to the stage. I’ve never met any of the boys so to be in the pits and be so close to them was a dream come true.
Come 6:15pm and we were lined up like cattle by the turnstiles. There’d been around fifty people queueing in front of us so we had no idea how close we’d be able to get to the stage but remained optimistic, overall. Thankfully, the system was fair and nobody felt the need to sprint into the arena. We were let in in order and we managed to get three rows from the front! I was utterly mesmerised. To go from being towards the back of Wembley Stadium to three rows away from the stage in the O2 Arena was a dream come true.
Ella Henderson was an incredible support act. Take That’s choice of support act is always spot on and I’ve seen some amazing artists over the years – Beverley Knight, Gary Go and Lady Gaga, just to name a few. Despite liking the The Pet Shop Boys’ material, I was utterly bored throughout their set opening the Progress tour. Ella, on the other hand, bought class, sophistication and fun to the O2 Arena. Despite being familiar with many songs from her album, I wasn’t exactly able to sing along much but still had an awesome time and her thirty-five minute set whizzed by. I wore my tacky fluorescent yellow hat for her set which appeared to get her attention! I shared a couple of little moments with her where she smiled at me, particularly during my favourite of hers, ‘Rockets’ which no-one else knew but I was able to sing along to. Her voice is absolutely incredible and I wish her all the success in the world, I really do. I’m so glad she’s already had a number one single and album. She truly deserves it.
Another difference for this tour is I had managed to avoid most spoilers (aside from the practically unavoidable pictures of the bike!) I muted lots of people on Twitter and any time I saw anything related to the tour, I would quickly scroll past. It was so, so tricky staying away from the setlist but I am SO glad I did. Even just one look at the set-list to a show will remain engrained in my memory. The problem with this is that I will then spend the concert thinking about what’s happening next so it was utterly refreshing to go to the show and know barely a thing about it! It turned out I knew most of the setlist through people spoiling online and my own guess work but wasn’t sure of the order and forgot lots of songs so it all worked out nicely as one big surprise!
I’ll save a lot of my comment on the show itself for a review I am planning (this post is just to discuss my personal experience more than anything) but will mention a few things from a fan-boy perspective (not a professional, like I aim for the tone of my review to be!). The fifteen minute introduction absolutely blew me away. Take That have a knack for absolutely incredible tour openers, both visually and musically. I loved the music that opened the show and the way the boys came onto the stage. The set-list was fantastic, particularly the emphasis on songs from the TT4 era. It was perfect to have so many songs from The Circus album. The balance between front-stage and b-stage was also wonderful as pretty much the whole arena was catered for nicely.
The whole show was absolutely incredible but some parts were made even more so by being in the pits. Being in the left pit, just three rows from the stage, we got SO much Markie action! I love how he performs on a more intimate level, interacting with the nearby crowd. He sung to and smiled at so many people around me and I’m pretty sure he smiled and winked at me. It also meant we got to witness the ‘Flaws’ shirt lift rather close which was greatly appreciated by many 😉
The flames during ‘Get Ready For It’ were scorching but you certainly felt the full atmosphere being so close! I was also finally able to bounce properly to ‘Hold Up A Light’ (it doesn’t have the same effect when you’re in seats!). Being in the pits for the confetti explosion during ‘Greatest Day’ is also incredible, although trying not to ingest it was very tricky! I’m still leaving a trail of confetti around the house from my pockets, wallet, phone case etc (much to my mother’s annoyance…) Also, can we just discuss ‘The Garden’ for a moment?! It must have looked spectacular to anyone outside of the pit but for us inside, it was mesmerising. Having those huge curtains drawn around us made us feel completely cut off from the rest of the arena, like it was just Take That and us. It also provided some much needed cool air after the intensity of heat from the flames in ‘Get Ready For It’! It was incredible to watch the puppet show from inside the sheet-dome. Furthermore, being underneath Mark’s cape/costume during ‘Shine’ took me right back to Primary School parachute games! Looking around during ‘Rule The World’ and seeing all of the lights also blew me away, as did looking at all the arms in the air during ‘Never Forget’.
I don’t think it’s been a secret that I’ve found 2015 a challenge so far and happy days have been very few so far this year. Take That have been such a strong source of light for me (I know it’s cheesy but it’s true) and the ‘III’ era has been without a doubt the most important Take That era to me. I am feeling a lot better now but that day and evening was the most beautiful, amazing and happy day I have had this year. So much so, I decided right away that I had to book more tickets and go again! I know twice isn’t anywhere near as many times as most Thatters but it ended up being enough for me. I could just about afford it and wanted to experience it again and am so glad I did. I’ve thankfully managed to avoid the post-tour blues since seeing them for a second time and I think it’s out of my system now! Don’t get me wrong, if money was no object, I’d go and see the boys numerous times but at the same time I think going excessively would probably make it lose some of its magic. I had two AMAZING days/nights and feel satisfied now! My second date was just as spell-bounding as my first except we were able to get right next to the walk-way between main stage and b-stage. We were a little concerned about a mob of drunken people behind us but thankfully they were tamed by Take That’s arrival onstage and were relatively well-behaved for the rest of the show. I wasn’t feeling very optimistic about touching the boys because of the swarm of drunks that had closed in but Alice and I managed to barge our way through and we were able to touch them!! I cupped Gary Barlow’s upper arm (I can confirm it is rock solid -pure muscle), touched Howard Donald’s sweaty arm and Mark’s jacket! A dream come true for someone who has never ever been that close to them before.
Seeing Take That has without a doubt been my favourite part of 2015 so far and I cannot put into words how much I value their existence. I had so much fun both times and am so grateful I got to go twice. I’d also go as far to say the boys managed to surpass ‘Progress’ with this tour. It was absolutely incredible and I am so glad they have stayed together and proved all of the critics wrong.
Markus Feehily has premièred his début solo single ‘Love is a Drug’.
It’s been three years since Westlife split. Markus has kept a relatively low profile until now whilst ex-band members Shane Filan and Kian Egan have had a reasonable amount of success with their solo albums. Westlife were always an acquired taste. I enjoyed some of their music but wasn’t really into them if I’m completely honest. That said, I am always interested with any music developments and am looking forward to seeing what Markus has to offer in his solo career.
‘Love is a drug’ is co-written with songwriter/producer Mojam who has previously worked with Sam Smith and Emeli Sande. It’s a massive track with sweeping strings, 90’s house/trip-hop beats in the same vein as Massive Attack’s ‘Unfinished Sympathy’ and Emeli Sande’s ‘Heaven’. Markus really showcases his impressive vocals and I am really, really enjoying this track.
I meant to write this blog long ago but as usual, life got in the way and it never happened. Better late than never, here’s my blog on Jason Orange leaving Take That.
24 September 2014:
It was to become another day of immense sadness for Thatters worldwide, an addition to the previous dark days on which Robbie Williams announced his departure in 1995 and Take That announced their disbandment in 1996. Jason Orange dropped the unforeseen bombshell that he was leaving Take That.
The response was quite astonishing considering we are now twenty-five years into Take That’s career and there are arguably fresher-faced more ‘current’ bands around. Take That’s relevance was reinforced once again. It became front page news, splashed all over tabloid newspapers and was a hot topic on the internet for days. Deluded Twitter trolls, convinced they are comedians were quick to provide much ‘banter’ and opinion over the situation, “Take That will never sound the same again” is just one noteworthy example. Other posts were critical of Orange’s role in the band whilst some suggested the band give up altogether. Of course, as the last few months have proved, the continuation of Take That as a three-piece has been wonderfully successful with many records broken and a killer album released. Yet, even throughout their many wonderful performances, Orange’s absence has been more noticeable than anyone could ever think possible.
Upon Take That’s formation, Jason Orange was selected by manager Nigel Martin Smith for his dance ability and he was bloody brilliant at it. Even the harshest critic would not be able to undermine Jason Orange’s dance ability. He was able to choreograph fantastic routines, glide across the floor effortlessly and he continued this well into Take That’s second life as a band. Even as a 41 year old, he youthfully breakdanced on 2011’s ‘Progress Live’ tour, which was to become his final tour with the band.
Part of Take That’s appeal back in the ’90’s was the range of talent and personalities in the band. Jason and Howard were incredible dancers, Mark was the boy next door, Robbie was the cheeky lad and Gary had the genuine vocal talent. Of course, all talents crossed over – Take That’s success was built upon every member’s ability to be an individual, to sing and to dance. It was five guys from Manchester, all of which had wonderful individual talents which, when put together, made Britain’s best loved boyband. When Take That re-formed as a four piece in 2005, the focus became more on the music and the public was shown that Take That were able to function well as not just a generic boyband but as a band. Harmonies became cleaner, instruments were bought out on stage more and Jason was finally given lead vocal duties, breaking him in gently with the stunning folk ballad ‘Wooden Boat’, the final track to 2006’s ‘Beautiful World’ album.
Jason Orange proved he could sing. ‘Wooden Boat’ was a sweet, gorgeous folk-ballad which closed the ‘Beautiful World’ perfectly. ‘How Did it Come to This’, his next lead vocal from 2008’s ‘The Circus’ was a rock foot-stamper, highlighting his ability to sing across multiple genres. His final lead vocal was to be the gorgeous ambient ‘Flowerbed’, an underrated hidden track on 2010’s ‘Progress’. In fact, it is Jason who sang lead vocals on some of Take That’s best-loved material. He was also bloody brave! On 2007’s ‘Beautiful World’ tour, his bandmates left him alone on-stage with an acoustic guitar to sing ‘Wooden Boat’, accompanied only fellow guitarist Milton McDonald and a small string section which was warmly received by fans and critics alike.
It was Jay’s fantastic stage presence which became an integral part of Take That’s strong, visionary performances. This was often centred around his sense of humour – he would often move in comedic fashion, particularly when sprinting to the B-Stage in Take That shows. He also has a wonderful element of charm about him which came through not only in interviews but also during performances. He famously drew attention to himself during the 2012 Olympics Closing Ceremony which some suggested may have been to take attention away from Gary Barlow whose baby daughter had been delivered stillborn just days earlier. It’s this charm and cheek that’s now missed dearly in Take That. Performances are still fun but there is certainly something missing. And that something is definitely anything associated with Mr Jason Orange.
And it’s not just the singing and dancing. It’s also the personality. The humour, the charm, the wisdom. Jay clearly spent a lot of his ten years off thinking about everything and this really showed in any interviews he was a part of, particularly ‘For The Record’ and ‘Look Back Don’t Stare’ in which he thoughtfully discussed his time in Take That.
Whilst obviously very grateful for the privileges he had earned, Jason always appeared to be uncomfortable with fame and his celebrity image. Any downtime away from the band was spent in anonymity, only being photographed very occasionally in everyday places doing mundane activities (he was once photographed sitting casually on a bench) and most often unshaven with
scraggly hair. His avoidance of Twitter or any social networking sites only facilitated in making him a more endearing character. His perception of fame and modest attitude could only be admired. Upon being asked by Piers Morgan, ‘If you could go back to the anonymity you enjoyed before Take That ever began, would you take it?’ He responded unhesitatingly with ‘I would. Fame corrupts people’s lives.’ It was this lack of egocentrism and profound outlook that made Jason Orange so well loved as a band member. Despite being remarkably grounded for a man in his position, he had a jokey alter-ego as a full-of-himself cheeky-chappy, once announcing in an interview “Mate, I was famous before I was famous”. He could also be rather filthy. Who can forget his steamy shower scenes with a mystery female in the music video for ‘Relight My Fire’?! In another interview laden with innuendo, he advised “If you sit down on your left arm for long enough, it feels like someone else!” His fantastic sense of humour really bought Take That interviews alive.
Take That have done a sterling job at adapting to their many line-up changes and continuing their success as a band. Their determination and continued success is certainly to be admired and I am so very grateful they still exist as both a brand and a band. Performances are still spectacular and lively but it’s clear that a presence is missing. That presence is Jason Orange. It’s just a shame that seemingly, his only way of proving his worth to critics was through leaving.
It’s the little things I miss. Him losing himself in every performance – the Donage bromance with Howard Donald, his comical running to the b-stage, the on-stage flirting with dancers, his wit and profound outlook in interviews, his sweet vocals and the breakdancing. Maybe one day he will return, even for the smallest of moments but until then, I hope he’s happy and comfortable with the life he’s living.
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