Hey people, just picked up his greatest hits and am really impressed. The guy has a large number of classics, and i reckon he'll be seen as one of the greats in a few more years. Was just curious to know what people consider his best albums?

the first 3 or 4 albums are best and then it goes a bit off, although i liked the rudebox album. he's picked back up again with his last album but it's still not a patch on the early ones. i presume his new swing album will be okay as the last one was pretty good. the first 2 albums were the big ones

"Reality Killed the Video Star" is perhaps my least favorite RW release. It lacks a pop, commercial vibe, as well as any kind of sentiment beyond what seems to be anger or resentment. While other artists would use such feelings to their advantage, Williams just wallows in it - unlike, say Amy Winehouse or Adele, who break through it and take it on a whole new level.


Othersie, I like RW's body of work as a whole. There seems to be more live and "greatest hits" compilations than there are actual album releases, however. But, that does allow his to lure new fans or convince questioning ones to purchase a collection of some of his best work.


"Life Thru a Lense" (1997) is his debut album and showed he has the vocal chops to get past being just a boyband singer. Working with Guy Chambers allowed him to go for a more edgier, mature sound, and I think it made fans beyond his Take That followers take notice that Williams had no intention of "going back." My grade: B.

"I've Been Expecting You" (1998) showed more depth in lyrics and even collaboration. It was his first chance to work with the Pet Shop Boys, on "No Regrets," and really do some soul-searching with his song writing. After "Angels," Williams seemed ready for solo stardom and this album shot straight to #1 in the U.K. "Millenium" was his first #1 song. My grade: A.


"Sing When You're Winning" (2000) allowed American audiences to glimpse Williams' future. "Rock DJ" made a favorable arrival, showing a playful side of Robbie - one where he acknowledges struggles with fame, yet enjoys making the best of it. The album allowed Williams to show more of his personality, to be brash, and launched him into larger tours and venues. Another #1 in the U.K., beyond the U.S., the album was also well-received in South America - reaching #6 in Argentina. My grade: A-.

"Swing When You're Winning" (2001) was a risk for Williams because it is a big band album afterall. However, Williams succeeded! Covering Sinatra was a brilliant move because, in my opinion, both he and Williams have a certain cockiness to pull it off. With Williams, it helped isolate a genre where he could delve head-first into it... and by that, I mean he appears to be playing a character and has no opportunity to fail if he give his all. He does. Listeners agreed, and Williams found himself with another #1 in the U.K., spending 58 weeks on the U.K. chart, and selling over 2 million copies that year. My grade: A.


"Escapology" (2002) was another turn to independence for Robbie. He took more control in the making of this record and it shows. The songs are more personal, where he took more jabs at the media and provided darker emotions. While there are a few toe-tappers, the release does not deliver the radio-friendly tunes you'd think he should. Then again, he is Robbie Williams. He does not jive with conformity. His arrogance is best explained because he is Robbie Williams. Still, it was another #1 in the U.K. and in the Top Ten in Latin America, Southeast Asia, and Australia. It was the U.K.'s best selling album that year. My grade: B-.

"Intensive Care" (2005) came after a much deserved/needed break for Williams. His return highlighted a two-year collaboration with Stephen Duffy, and the result was an album with a more reliable formula. "Louise," "Ghosts," and "Spread Your Wings" show an unheard vulverability in Williams. On the album, Williams breaks out with pinning love songs, upbeat dance tunes, and delivers them all with tongue-in-check sensibility that make the lyrics seem smart, appropriate, and "just what the doctor ordered" to extend Williams career into better exposure. My grade: A.


"Rudebox" (2006) seems to be the pinnacle highlight of Williams career so far. That's because it hosts an amazing collection of collaborations with everyone from William Orbit and the Pet Shop Boys to Joey Negro and Mark Ronson on board. The covers and original material would seem like it would deliver an inconsistent sound - but it does quite the contrary. It provides Williams with his "calling card" to be himself, be original, be radio and pop friendly, and at the say time, show a high-level of wit that he has become known for. For me, I like the overall style of the album. Perhaps because it is more of a dance or electro sound, or perhaps because it seems to show the "best" of Williams - whether it be in his lyrics, fondness for artists I enjoy (like Madonna, Human League, and My Robot Friend), playfulness, and general spunk. This album has more "hits" than "misses" on it, and I can put it on an actually enjoy every tune. My grade: A+.

"Reality Killed the Video Star" (2009) is my least favorite, perhaps because it is such a far turn-around the corner sound for Williams that I have just found it hard to embrace. The only thing I can compare it to was when Wendy & Lisa released Girl Bros. - you couldn't help but notice the sheer abandonment of their former sound. Sure the songwriting sensibility was there, but unless you were ready for a completely different sound, you were caught off guard. Unlike Girl Bros.,, however, "Reality Killed the Video Star" failed to ever grab me or hold my attention. In fact, I resold it and never regretted not having it in my collection. Even though Williams again collaborated with some familiar and brilliant people here (including Chaz Jankel, Craig Russo, and Guy Chambers), I just feel like the album disappoints and lacks the charm of previous releases. Perhaps I just don't like it because Williams himself acknowledges the changing music scene rather than trying to change it or bring it back to its former glory. It is a big downer for me. My grade: C-.

"Swings Both Ways" (2013) is not officially out yet, but I can tell you that I am very excited about it because it is a return to RW's big band "swing" sound - and follows the sound of his most successful album to date" (according to his website and referring to "Swing When You're Winning"). The only drawback I have is that it boasts duets, and I - just my taste here - just don't like the choice of some partners he's made collaborations with. For example, I cannot stand Michael Buble because I think he is a cheap knock-off of Sinatra. Unlike Williams, he's made a career of being a copycat (and, in my opinion, a bad one). That said, it makes me wonder why Williams would chose to do vocal collaborations in this genre to begin with, when he seemed to do just fine on his own. Does he feel that by working with Olly Murs and Kelly Clarkson, he will reach new audiences? Does he think working alongside Lilly Allen and Rufus Wainwright will recharge his creativity? Who knows, but I am looking forward to hearing the results. For example, Williams will cover "If I Only Had a Brain" - from the film The Wizard of Oz. If Williams can slow the song down, not only can he make it his own, but he can reflect the poignancy and irony in the lyrics. If anyone can take those popular lyrics we grew up listening to and take them to another, personal and sentimental level - Williams can. That alone, if executed correctly, could be a brilliant stand-out on his newest release!

[Edited 10/19/13 9:51am]

My top 5:

1) Rudebox

2) Sing When You're Winning

3) Life Through A Lens

4) I've Been Expecting You

5) Intensive Care

my personal faves

1. Escapology

2. Intensive Care

3. Sing When You're Winning

4. I've Been Expecting You

5. Reality Killed The Video Star