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Donald's Encyclopedia of Popular MusicA B C D E F G H I J K L M N O P Q R S T U V W X Y ZTAKE THATUK teen idols of the '90s, derided for perceived lack of authenticity by those with no understanding of the essential inauthenticity of the pop process, Take That made several great records as well as playing a significant role in convincing the pre-teen constituency of the '94--6 British pop revival that there was more to life than computer games. They were formed by manager Nigel Martin-Smith in Manchester '90--91 as the English response to the anodyne US group New Kids on the Block (who had two huge albums, then vanished); their first three singles flopped but a crafty tour of educational institutions introduced an impressionable young audience to priapic dance routines and clean-cut musculature. 'It Only Takes A Minute' '92 (cover of a '76 disco hit) began a run of chart success and entertaining rivalry with more street- oriented Walthamstow pin-ups East 17: eight out of nine Take That singles (and both albums) reached UK no. 1 '93--6. Their unexpected longevity was sustained by appealing personalities, canny choice of covers and emerging songwriting talent of Gary Barlow (piano/vocals, b 20 Jan. '71), the George Michael of his generation. Singer/dancer colleagues Robbie Williams (b 13 Feb. '74), Howard Donald (b 28 April '68), Mark Owen (b 27 Jan. '72) and Jason Orange (b 10 July '70) each had their admirers but less readily discernible musical gifts. The departure of Robbie mid-'95 (corrupted by friendship with Oasis) was the beginning of the end (and marked by floods of tears among pubescent British girls); by the time of their cheerful dissolution Feb. '96 with a hilarious sado-masochistic video to their no. 1 cover of the Bee Gees' 'How Deep Is Your Love', Take That had numerous 'boy-band' imitators, Dublin's Boyzone the most irritating as well as the most successful, and new 'girl-band' the Spice Girls swept the tabloids; we were left with the memory of the hormonal splendour of Take That's live tours and the immortal melody of their best single 'Back For Good' '95. Of the expected solos, Barlow's forgettable single was a predictable no. 1 UK hit and Williams's was a cheeky cover of Michael's 'Freedom'; in November '96 Mark Owen's single 'Child' was a surprise no. 3. This meant little, CD singles in the UK being heavily discounted in the first week or two of release so they sold quickly, but the melodic guitar-pop of Owen's album Green Man in December was well-received by the critics, while Barlow's Open Road, having been scrapped and re-recorded under the eye of executive producer Clive Davis, was just a bunch of pleasant love songs, a nice Clive Davis album. Williams's album Life Through A Lens '97 received mixed reviews, some critics liking it, others cruelly wishing he'd remained a teenypop idol. |