Friday, September 28th, 2012

Robbie Williams – Candy

America: He’s the guy who recorded that song with Brad Paisley on the Cars II soundtrack…


Edward Okulicz: It doesn’t matter that Robbie Williams has never sounded so whimsically charming before, but he seems to have accidentally written a game show theme, not a pop song. He’s dressed for the part in the video, too.

Iain Mew: The brass at the start sounds a lot like something else — I keep thinking Architecture in Helsinki, and it is a bit “Do the Whirlwind” — but I’m sure there’s something else it’s even closer to, which is going to keep annoying me. Past that, “Candy” is a return towards “Tripping” and its “kind of cabaret act reggae” sound (his words). Which should be good because “Tripping” is one of his best songs, but “Candy” replaces its strangeness with breezy satisfaction and wordplay that ranges from OK (“lots of different horses by lots of different men”) to icky (“mother was a victim, father beat the system”).

Jonathan Bradley: Robbie Williams’s ability to soak his personality into everything he touches explains why he’s such a successful pop star (with certain geographical caveats).That his work is so suffused with his self-satisfied laddishness is exactly why I find him so intolerable. “Candy” slots into the jaunty lineage of Dexy’s Midnight Runners and, erm, Dogs Die In Hot Cars, except, more than anything else, it’s a Robbie Williams song. If Billy Joel were reborn as English, perhaps this would be the noisome result.

Alfred Soto: Much like I do with Robbie Williams, I have an ambivalent relationship with playground chants. Both, after all, matter to subcultures in which I either no longer traffic or whose talents come off as facile. The rhymes are clunky as usual, and Williams sings like Bob Barker recording an album of Who covers.

Brad Shoup: Did he record this while doing double-dutch? That’s a playground melody if ever I’ve heard one. This is fine bubblerock; I can’t imagine it uniting an arena, but we are living in a New Age.

Anthony Easton: Lite pseudo-reggae. Well, that was a direction I was not expecting. The oral sex references are always appreciated, though I have no idea what candy has to do with “a hurricane at the back of her throat.”

Jonathan Bogart: Was not expecting anything this uptempo or hammy from Robbie at this stage in his career — isn’t early middle age when guys like him are supposed to start saying “But seriously, folks”? He leans into the smugness curve like he’s been doing it all his life (he has), but for once the production keeps pace.

Josh Langhoff: Lust masquerading as concern dripping with smugness disguised by relentless cheer and a great string/horn arrangement. Barry Manilow wishes he was this big an asshole.

2 Responses to “Robbie Williams – Candy”

  1. “The brass at the start sounds a lot like something else.” The song reworks, with credit, Todd Terje’s “Eurodans.”

  2. Think I underrated this. It’s a 6 at least. No more than 7, but definitely a 6. Other than what’s on Rudebox this might be his best single!