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Take That|Nobody Else (Expanded Edition)

Nobody Else (Expanded Edition)

Take That

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Presaging the teen-pop phenomenon of the late '90s, Take That took Great Britain by storm in 1993. They didn't, however, hit the States until this release, and even then they hardly made a dent, with only the single "Back for Good" getting any airplay. Where Hanson sparked the boy band craze in the U.S. with a tight band, assured songwriting, good vocals, and an appreciation for rock & roll, and the Backstreet Boys and *NSYNC gave us lush harmonies and production, Take That lacks the confidence or the style of even the weakest cut by the above-mentioned groups. With lyrics like "Love ain't here anymore / it's gone away to a town called yesterday," you almost snap out of the coma the rest of the album has induced -- simply because the lines are laughable. Despite lilting vocals on "Back for Good" and the surprisingly risqué "Babe," there isn't a cut that stands out on Nobody Else. Teen pop isn't always art, but it still needs to be well done and have a little bite. This album doesn't offer either.

© Bryan Buss /TiVo

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Nobody Else (Expanded Edition)

Take That

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1
Sure
00:03:41

Gary Barlow, Composer, Lyricist, Producer - Paul Wright III, Engineer, Mixing Engineer - Mark Owen, Composer, Lyricist - Robbie Williams, Composer, Lyricist - Take That, MainArtist, AssociatedPerformer - Brothers In Rhythm, Producer, Performance Arranger

(P) 1994 Sony Music Entertainment UK Limited

2
Back for Good (Radio Mix)
00:04:02

Phil Palmer, Guitar - Gary Barlow, Composer, Lyricist, Producer, Programmer - Chris Porter, Producer - Chris Cameron, Programmer - Steve McNichol, Assistant Engineer - Take That, MainArtist, AssociatedPerformer

(P) 1995 Sony Music Entertainment UK Limited

3
Every Guy
00:03:58

Gary Barlow, Composer, Lyricist, Producer, Performance Arranger - Paul Wright III, Engineer, Mixing Engineer - Take That, MainArtist, AssociatedPerformer - Brothers In Rhythm, Producer, Performance Arranger

(P) 1995 Sony Music Entertainment UK Limited

4
Sunday to Saturday
00:05:03

Gary Barlow, Composer, Lyricist, Producer, Performance Arranger - Mark Owen, Composer, Lyricist - Howard Donald, Composer, Lyricist - Alan Bremner, Assistant Engineer - Nigel Hitchcock, Saxophone - Take That, MainArtist, AssociatedPerformer - Brothers In Rhythm, Producer, Performance Arranger - Andy Gallimore, Assistant Engineer - Howard Bargroff, Mixing Engineer

(P) 1995 Sony Music Entertainment UK Limited

5
Nobody Else
00:05:48

Phil Palmer, Guitar - Gary Barlow, Composer, Lyricist, Producer, Programmer - Chris Porter, Producer - Chris Cameron, Programmer - Steve McNichol, Assistant Engineer - Take That, MainArtist, AssociatedPerformer

(P) 1995 Sony Music Entertainment UK Limited

6
Never Forget
00:05:11

Gary Barlow, Composer, Lyricist - Tommy Blaize, AssociatedPerformer - Lance Ellington, AssociatedPerformer - Clive Griffin, AssociatedPerformer - Monica Reid-Price, AssociatedPerformer - Jay Ray Ruffin, AssociatedPerformer - Beverley Skeete, AssociatedPerformer - Dave James, Producer - Alan Bremner, Assistant Engineer - Katie Kissoon, AssociatedPerformer - Take That, MainArtist, AssociatedPerformer - Brothers In Rhythm, Producer - Andy Gallimore, Assistant Engineer - Howard Bargroff, Mixing Engineer

(P) 1995 Sony Music Entertainment UK Limited

7
Hanging onto Your Love
00:04:08

Gary Barlow, Composer, Lyricist - David Morales, Composer, Lyricist, Producer, Mixing Engineer, Drum Programmer - Peter "Ski" Schwartz, Keyboards - John Poppo, Engineer - Pavel De Jesus, Engineer - Bashiri Johnson, Percussion - Take That, MainArtist, AssociatedPerformer - Alec Shantzis, Composer, Lyricist, Keyboards

(P) 1995 Sony Music Entertainment UK Limited

8
Holding Back the Tears
00:05:28

Gary Barlow, Composer, Lyricist, Producer, Performance Arranger - Paul Wright III, Engineer, Mixing Engineer - Take That, MainArtist, AssociatedPerformer - Brothers In Rhythm, Producer, Performance Arranger

(P) 1995 Sony Music Entertainment UK Limited

9
Hate It
00:03:41

Phil Palmer, Guitar - Gary Barlow, Composer, Lyricist, Producer, Programmer - Chris Porter, Producer - Chris Cameron, Programmer - Steve McNichol, Assistant Engineer - Take That, MainArtist, AssociatedPerformer

(P) 1995 Sony Music Entertainment UK Limited

10
Lady Tonight
00:04:36

Gary Barlow, Composer, Lyricist, Producer, Performance Arranger - Paul Wright III, Engineer, Mixing Engineer - Take That, MainArtist, AssociatedPerformer - Brothers In Rhythm, Producer, Performance Arranger

(P) 1995 Sony Music Entertainment UK Limited

11
The Day After Tomorrow
00:04:51

Phil Palmer, Guitar - Gary Barlow, Composer, Lyricist, Producer, Programmer - Chris Porter, Producer - Chris Cameron, Programmer - Steve McNichol, Assistant Engineer - Take That, MainArtist, AssociatedPerformer

(P) 1995 Sony Music Entertainment UK Limited

12
Sure (Full Pressure Mix)
00:05:36

Paul Wright III, Engineer - Mark Owen, Composer, Lyricist - Barlow, Composer, Lyricist - Take That, MainArtist, AssociatedPerformer - Brothers In Rhythm, Producer - Robert Williams, Composer, Lyricist - Merlin, Producer, Programmer, Mixing Engineer - T-Love, Mixing Engineer

(P) 1994 Sony Music Entertainment UK Limited

13
Back For Good (Urban Mix)
00:04:00

Gary Barlow, Composer, Lyricist, Producer, Programmer - Chris Porter, Producer - Chris Cameron, Programmer - Steve McNichol, Assistant Engineer - Take That, MainArtist, AssociatedPerformer

(P) 2006 Sony Music Entertainment UK Limited

14
Every Guy (Live)
00:05:34

Gary Barlow, Composer, Lyricist - Chris Porter, Mixing Engineer, Recording Engineer - Take That, MainArtist, AssociatedPerformer

(P) 1996 Sony Music Entertainment UK Limited

Chronique

Presaging the teen-pop phenomenon of the late '90s, Take That took Great Britain by storm in 1993. They didn't, however, hit the States until this release, and even then they hardly made a dent, with only the single "Back for Good" getting any airplay. Where Hanson sparked the boy band craze in the U.S. with a tight band, assured songwriting, good vocals, and an appreciation for rock & roll, and the Backstreet Boys and *NSYNC gave us lush harmonies and production, Take That lacks the confidence or the style of even the weakest cut by the above-mentioned groups. With lyrics like "Love ain't here anymore / it's gone away to a town called yesterday," you almost snap out of the coma the rest of the album has induced -- simply because the lines are laughable. Despite lilting vocals on "Back for Good" and the surprisingly risqué "Babe," there isn't a cut that stands out on Nobody Else. Teen pop isn't always art, but it still needs to be well done and have a little bite. This album doesn't offer either.

© Bryan Buss /TiVo

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