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Product details
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| Disc: 1 |
|---|
| 1. When We Were Young |
| 2. Man |
| 3. Love Love |
| 4. The Day The Work Is Done |
| 5. Beautiful |
| 6. Don't Say Goodbye |
| 7. Aliens |
| 8. Wonderful World |
| Disc: 2 |
| 1. The Flood |
| 2. SOS |
| 3. Wait |
| 4. Kidz |
| 5. Pretty Things |
| 6. Happy Now |
| 7. Underground Machine |
| 8. What Do You Want From Me? |
| 9. Affirmation |
| 10. Eight Letters / Flowerbed |
Review Consequently, you can't blame this ten-legged national treasure for trying to remind us that it's more than just the summer's biggest live draw – especially when, for a band playing the album repackage game, Take That are feeling pretty generous. Following a template that Lady Gaga looked to with her Fame Monster reissue, Progressed couples the original 10-track album with a second disc boasting eight brand-new songs.
Aside from nostalgic opener When We Were Young, which harks back to the group's pair of Robbie-free reunion albums, everything here sits comfortably alongside the original Progress chestnuts. Producer Stuart Price supplies the same electro-pop gloss and bombast; Messrs Barlow, Owen and Williams take a fair and square approach towards lead vocals; and the lyrics are frequently as cryptic as they are (unspecifically) apocalyptic. "We're waiting for the universe to end…" goes the hook to Man.
Also present and correct is the sonic spunk that earned Progress its enviable school reports. Love Love stomps like a petulant teenager in platform wedges, Man dips its toes in industrial waters, and Aliens is almost big and barmy enough to fit onto Gaga's Born This Way LP. However, Gary and the lads haven't forgotten about the lump-in-the-throat stuff. Towards the end come Don't Say Goodbye and Wonderful World, Pet Shop Boys-esque electro-ballads with sentiments sufficiently heartfelt and all-encompassing to appeal to anyone from Louis Walsh to Tulisa Contostavlos.
None of the new tracks is as quite as undeniable as Kidz or Happy Now, but neither does Progressed come off like a hodgepodge of offcuts from the original album sessions. Besides, it's hard not to be won over by the band's intentions here. For while Take That do need to sound this big – after all, they've got the movements of a 60ft mechanical man to soundtrack – they don't need to sound this interesting. Whatever the boys are doing to cool Robbie's itchy feet, let's hope they know how to make it last.
--Nick Levine
Find more music at the BBC This link will take you off Amazon in a new window
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