It’s safe to say 2014 has been an incredible roller-coaster for Take That. Allegations of tax avoidance scams, the loss of a band member, the release of one of the fastest selling albums of all time and Amazon’s most pre-ordered album in history; it’s safe to say it’s been up and down for Britain’s most loved man-band.
This week, it emerged latest single ‘These Days’ had become their twelfth UK Number One single and on Monday, their brand new album – their first as a three piece – ‘III’ was released. An insight into each track is provided below.
1) These Days
A piece of pop perfection, it’s easy to see why this Nile Rodgers/Chic-style track with funky guitar riffs, punchy percussion and tight harmonies has well and truly established itself as one of Take That’s finest records. It’s a song of optimism and it’s irresistibly catchy. Barlow, Donald and Owen’s voices are all audible and fused to provide rich layers of harmonies. A killer opener.
2) Let In the Sun
Take That do Calvin Harris. Except better. It begins gently with Barlow’s rich vocals drizzled with Donald’s falsetto, both melting effortlessly into a symphony of synthesiser before developing into an up-tempo dance track with elements of Take That’s signature sound. If all the synthesisers were removed and the thumping percussion, it could have slotted in perfectly on ‘The Circus’ album with its optimistic lyrics. It never quite takes the plunge into full dance-pop territory, however, there’s definitely some Mumford & Sons in there but it’s still a powerful, feel-good track, a stand-out from ‘III’.
3) If You Want It
A return to Greg Kurstin-infused-pop here and it works beautifully. It’s unmistakeably Take That – catchy, verging on entering cheesy territory and utterly irresistible. In-keeping with all tracks so far, it’s bold, buoyant and a great, great pop track. Tight harmonies too – Howard and Mark’s vocals are both crystal clear and give the track an extra dimension.
4) Lovelife
Barlow generously hands over lead-vocal duties to Mark Owen on this catchy number. Painting the image of a group of Frenchmen performing the track on street corner in Paris with an accordion, it’s a little unconventional and seemingly draws upon European dance-pop music as its foundation. It’s well written and catchy but not quite as congenial as the previous tracks and therefore the album becomes slightly off-kilter with the addition of ‘Lovelife’.
5) Portrait
Stuart Price is back, frolicking with synthesisers and computer-generated sounds again, not dissimilar to much of the material on ‘Progress’. It’s not as intense, however, the first minute or so is gentle and tentative, allowing the listener some much needed rest from the intensity of the first four tracks. Barow’s falsetto flutters over soft guitar strums and timorous synthesisers before Donald and Owen join the fold in the rousing Barber-shop-styled chorus. It is 100% in the same vein as The Circus’ ‘Hold Up A Light’ but with increased vigour. The barber shop refrain is utterly irresistible and the driving drum beat maintains the song’s momentum. Price’s production really glistens on this beautifully created and performed track. Another stand-out moment.
6) Higher Than Higher
The closest to a classic Take That ballad you’re going to get in the first half of ‘III’. Precarious percussion and jittery synthesisers open the track before it stabilizes into a steady marching beat. The song is largely carried by the effortlessly cool and rather insane R&B-styled production provided by little-known American duo Mattman & Robin. Barlow delivers perfect, tender vocals whilst Donald and Owen provide gorgeous harmonies, reverberating into the spaced-out, meticulously programmed percussion. Their repeated ‘higher, higher than higher’ harmonies in the final part of the song somewhat bizarrely but beautifully emulate an African choir. It’s one of many lovely touches which contributes to its success. It’s a song full of meaning, passion and it’s utterly beautiful. Quite possibly one of Take That’s best songs of their career.
7) I Like It
Take That go all Muse once more. It’s a return to the ‘Progress’ era and it’s absolutely bonkers. Imagine an amalgamation of ‘Shine’ and ‘Underground Machine’ and ‘I Like It’ is born. The synthesised bass, minimal instrumentation and buoyant percussion all contribute to the catchiness of the song and just when you think producer Stuart Price has exhausted all technical improvement tools, a mechanical middle-eight kicks in, in which Barlow’s vocals are lowered in pitch to create a robotic voice. A fun piece of pop.
8) Give You My Love
A song that could have easily slotted in on the ‘Everything Changes’ album, Barlow’s clearly been having a whale of a time frolicking around with his keyboards. This is the one time Thatters are able to enjoy Donald on lead vocals, a bizarre move when the loss of two band members surely presents the opportunity for more equal distribution of lead vocal duties. Still, Donald succeeds on this pure and simple fun track.
9) Freeze
Ice-like imagery, proficient production, slamming percussion and Barlow’s falsetto steer this song, resulting in a powerful 80’s-esque song. Likely to be one of a handful ballads written after Orange announced his intention to depart from the band, there is a sincerity in it’s lyrics. Personal, heartfelt and emotive.
10) Into The Wild
A dramatic and explosive moment, with tribal drums, Owen’s distinctive and intense vocals and a sing-song chorus, this is a powerful addition to ‘III’. Barlow, Donald and Owen have clearly taken great pleasure in imitating other bands on this album and ‘Into The Wild’ presents the opportunity for them to be The Killers. It’s an undoubtedly powerful song glimmering with brilliance.
11) Flaws
Ah, finally. A Barlow ballad! The chance of one of these appearing looked slimmer and slimmer by the song but here we are. ‘Flaws’ is a pretty, piano-based ballad which sounds like an out-take from Barlow’s ‘Since I Saw You Last’ album. In an attempt to capture the raw effect, it appears Barlow has positioned himself rather too closely to the microphone, resulting in distortion more than anything else. It’s well-written, although previous Take That ballads are far superior.
12) Get Ready For it
Another dramatic song in the same vein as ‘Freeze’ and ‘Into The Wild’. ‘Get Ready For It’ (rumoured to be the second single) is a pop-rock stomper that closes the standard version of the album perfectly. It’s powerful, euphoric and a complete stadium anthem.
13) Believe
‘Believe’ is an enjoyable piece of pop-rock, reminiscent of the material on Owen’s solo album ‘The Art of Doing Nothing’. It’s an enjoyable song with a big chorus but the boys made the right decision to leave this off the standard edition and put it on the deluxe instead.
14) Amazing
Take That do The Beatles! This couldn’t be any more different stylistically to the rest of the album and therefore it is understandable this has been demoted to a bonus track. It’s a gorgeous song nonetheless and it’s a shame this won’t take pride as a standard edition album track on a pop-rock Take That album. The harmonies are gorgeous, the instrumentation simplistic and the lyrics slushy. It’s unmistakeably Take That and very beautiful it is too.
15) Do it all for Love
A haunting closer to the deluxe version of the album. Mark Owen wails over guitar arpeggios and unmistakable Take That piano chords before the song climaxes into a dramatic power ballad. It’s a powerful, incredibly emotive track with a killer bridge. It’s reminiscent of ‘Nobody Else’ album closer ‘The Day After Tomorrow’ which Owen also performed lead vocals on.
Barlow perhaps put it best when he described ‘III’ as an amalgamation of Take That’s material from the second time around. As an album, it jumps around stylistically, therefore it lacks the cohesion of ‘Progress’. The choice of material on ‘III’ is far superior, however. The fusion of the ‘Beautiful World’, ‘The Circus’ and ‘Progress’ albums works wonderfully, amalgamating the sincere lyrical content with electro-pop and experimental instrumentation to create an incredible, roof-raising album.
Rating: 5/5.
‘III’ is available now on Polydor.
We all know the story, Gary’s debut solo effort ‘Open Road’, whilst not perhaps the album he initially intended it to be due to record label input, flew straight into Number One in the UK album charts. Three top 10 singles later (including two Number Ones) and it was decided Gary was well and truly on the right track. Fast forward two years and the dance track ‘Stronger’ was released which reached Number 16. Whilst a respectable chart position, it was the beginning of rocky time. ‘For All that You Want’ charted at a disappointing #24 and Gary’s follow up album ‘Twelve Months Eleven Days’ limped in at an unfair #35. A range of factors have been attributed to the lack of commercial success of Gary’s sophomore solo album; the press, promotional decisions, Robbie Williams. Whatever it was, there’s no denying that such a great album should have fared far better in the charts.
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