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Pop - Verschenen op 1 januari 2013 | Universal-Island Records Ltd.

Onderscheidingen Mercury Prize Selection
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Pop - Verschenen op 22 november 2019 | Columbia

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Releasing a Christmas album seems to be a rite of passage for all artists wanting to cement their place in the hearts of the people as a star (or even just to stay relevant…), yet some have accomplished this more successfully than others. This year it’s Robbie Williams who tries his hand at musical festive cheer: the end result is The Christmas Present, a soothing double album full of classic Christmas covers as well as a large serving of original songs (such as Coco’s Lullaby, dedicated to his daughter), guaranteed to get anyone in the holiday spirit. In keeping with the genre, this Christmas album starts out featuring sultry strings and a smooth brass section to effectively bring relaxing, jazzy tones to the music, a departure for Robbie Williams who cut his teeth on chart-topping pop music. Indeed, Jamie Cullum features on the second track, a cover of Slade’s kitsch-but-classic Merry Xmas Everybody, this strong start signalling more great things to come over this hour-and-a-half of feel-good Christmas music. Williams has more help, from German singer Helene Fischer on a seductive cover of Santa Baby, and from the legendary Rod Stewart on Fairytales and Bryan Adams on Christmas (Baby Please Come Home). However the most surprising feature comes from British champion heavyweight boxer Tyson Fury on Bad Sharon, a lighthearted song praising all the cheerful mischief to be had at Christmas time. Towards the end, the sound falls more into the pop category, but the festive cheer never falters. A fun album where the original songs are as inventive and refreshing as the covers are timeless and comforting. © Christopher Steele/Qobuz
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Pop - Verschenen op 20 november 2020 | Columbia

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In het najaar van 2019 brengt de Britse zannger Robbie Williams het kerstalbum Christmas Present uit. Voor het album selecteert hij tal van bekende kerstliedjes zoals "Winter Wonderland," "Santa Baby" en "It's a Wonderful Life." Hij wordt op het album bijgestaan door muzikale gasten Rod Stewart, Jamie Cullum en Tyson Fury. © TiVo

Rock - Verschenen op 19 november 2001 | Chrysalis UK

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Rock - Verschenen op 1 januari 1997 | Chrysalis UK

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Pop - Verschenen op 1 januari 2002 | Chrysalis UK

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Pop - Verschenen op 18 november 2013 | Farrell Music Ltd

Pop - Verschenen op 11 oktober 2010 | Virgin Records

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In een set van twee cd's toont In and Out of Consciousness: Greatest Hits 1990-2010 in 39 nummers wat Robbie Williams tot die fascinerende superster van rond de eeuwwisseling maakt. Alle hits staan erop samen met, voor het eerst, een schat aan nummers van de albums. De verzameling verschuift van de nieuwste naar de oudste nummers, beginnend met een paar nieuwe nummers en twee uur later eindigend met nummers van zijn debuutalbum en de single "Everything Changes" van Take That uit 1994. De samenstellers hebben een goede keuze gemaakt door meer tijd te wijden aan zijn vroegrijpe, onderhoudende jaren 90-albums. Over het geheel genomen toont het een compleet portret van Robbie Williams, de grootste popster van de jaren 90 en 2000, waar maar weinig mensen ontzag voor hadden, maar waar iedereen van genoot. © John Bush /TiVo
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Rock - Verschenen op 1 januari 2013 | Universal-Island Records Ltd.

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Rock - Verschenen op 1 januari 2003 | EMI Records

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Rock - Verschenen op 1 januari 2000 | Chrysalis UK

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Pop - Verschenen op 4 november 2016 | Columbia

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Pop - Verschenen op 1 januari 2005 | Chrysalis UK

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Pop - Verschenen op 1 januari 2002 | Chrysalis UK

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Pop - Verschenen op 5 november 2012 | Farrell Music Ltd

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Pop - Verschenen op 1 januari 2009 | Virgin Records

Robbie Williams' Rudebox was één van de meest vermakelijke albums van zijn carrière, maar het was geen commercieel succes. De opvolger, Reality Killed the Video Star, probeert het schip te kantelen, en zodoende werd het alles wat zijn voorganger niet is. Het album heeft een doorsneematige superproductie van Trevor Horn gekregen, met arrangementen van zijn langdurige co-auteur Anne Dudley. Het geluid van het album is zeker wat het nodig heeft om te slagen bij het ouder wordende publiek van Williams en om goede zaken te doen op BBC Radio 2. Williams blijft een uitstekende zanger van ballads, goed geschikt tegen zo’n grandioze achtergrond. Het album is topzwaar, door te beginnen met “Morning Sun”, het beste en meest gevoelige nummer op het album. © John Bush /TiVo
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Rock - Verschenen op 23 oktober 2006 | Chrysalis UK

The careers of most music celebrities are like passenger ships, able to steam along nearly indefinitely without the least chance of modifying course. With his work of the 21st century, Robbie Williams appeared to have set himself on a course that was guaranteed to keep him working for decades, remaining important to thousands of fans, but never varying from the type of adult alternative singer/songwriter material expected of him. Then came Rudebox, which proves he's not that simple -- or at least, not that satisfied with himself. It may be a good album because it says little about his inner life and emotional troubles, which are unceremoniously dropped in favor of hyper-sexualized or sarcastic dance music and ironic laugh-getters ("Make your body shake like you stood on a land mine," "Dance like you just won at the Special Olympics"). It may be a good album because it has some of the best productions of his career, usually amped-up electro-disco from the duo Soul Mekanik or goofy hip-hop soul from Mark Ronson (which makes him come across as Justin Timberlake at some points and Gnarls Barkley at others). It's certainly a good record in comparison to its two predecessors, which suffered from a lack of vitality. (For example, while 2005's Intensive Care desultorily attempted to rewrite the Human League's "Louise," Rudebox simply covers the song, with much more feeling.) Compared to Escapology and Intensive Care, Rudebox is not only loose and fun but, for the first time in Williams' career, receptive to outside help; aside from the producers, Lily Allen and the Pet Shop Boys make appearances, and Robbie covers songs from Manu Chao, Lewis Taylor, Stephen Duffy, and the indie band My Robot Friend. Not that the record is perfect; in fact, it has a few of the most embarrassing moments in Williams' career. The lyrics occasionally devolve into hip-hop nonsense ("Got no strings, but I think with my ding-a-ling/Wu-Tang with the bling-bling, sing a song of Sing Sing"). "The 80s" is even worse, a nostalgic but monotone rap that oddly balances adolescent trauma and pop culture ("Auntie Jo died of cancer/God didn't have an answer/Rhythm was a dancer"). Still, the next track after "The 80s" is "The 90s," a surprisingly bewitching chronicle of his boy-band years from 1990 to 1995. The fact remains that every track here is better and more interesting than anything from the previous two LPs, despite the occasional embarrassing couplet or misguided musical idea. © John Bush /TiVo
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Pop - Verschenen op 1 januari 2001 | EMI Catalogue

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Pop - Verschenen op 1 januari 1999 | Chrysalis UK

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Pop - Verschenen op 1 januari 2001 | Chrysalis UK

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Robbie Williams in het magazine