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Rudebox
Studio album by
Robbie Williams
Released23 October 2006 (2006-10-23)
RecordedNovember 2005 – August 2006
GenreDance
Length74:44
LabelChrysalis
Producer
Robbie Williams chronology
Intensive Care
(2005) 		Rudebox
(2006) 		Reality Killed the Video Star
(2009)
Singles from Rudebox
  1. "Rudebox"
    Released: 4 September 2006
  2. "Kiss Me"
    Released: 10 October 2006
  3. "Lovelight"
    Released: 13 November 2006
  4. "Bongo Bong and Je ne t'aime plus"
    Released: 22 January 2007
  5. "She's Madonna"
    Released: 5 March 2007

Rudebox is the seventh studio album by the English singer Robbie Williams, released by Chrysalis Records on 23 October 2006 in the United Kingdom. A breakaway from previous releases, Williams worked with a variety of producers, including Mark Ronson, Soul Mekanik, Pet Shop Boys, William Orbit, Joey Negro, and Jerry Meehan. It also features two guest appearances from the Pet Shop Boys. Rudebox is a dance album[1][2] with pop, disco, electronica and rap elements.[3]

Rudebox received mixed reviews, but reached number one in 14 countries, including United Kingdom, Australia, Switzerland, Germany, Mexico, Argentina, Spain, Italy and Finland. It was supported by five singles: "Rudebox", "Kiss Me", "Lovelight", "Bongo Bong and Je ne t'aime plus" and "She's Madonna". "Rudebox" reached number one in Germany, Switzerland and Italy, and the top ten in several countries. "Lovelight" was a top ten hit in six countries, including the UK, where it reached number 8.

Background

[edit]

Work on Rudebox began while Robbie Williams was still promoting and completing his previous album, Intensive Care. In an interview with Music Week in September 2006, Williams described the new writing process as "quite effortless this time around," explaining that he had stopped "trying to please a lot of people" and was now experimenting with "an Apple Mac … me and Jerry Meehan".[4]

Together they developed several autobiographical spoken-word tracks, including "The 80’s", "The 90’s", and the hidden bonus track "Dickhead". Meehan later recalled that "Dickhead was the first idea that really made us laugh and opened the door to the whole record".[5] According to EMI A&R executive Chris Briggs, Williams actually began writing Rudebox with Meehan before Intensive Care was even completed.[6] Producer Mark Ronson described his sessions with Williams in New York—particularly on "Lovelight", a cover of Lewis Taylor’s song—as a blend of live instrumentation and analogue synthesizers designed to re-imagine the original as an electronic-soul piece.[7]

The album itself combines original compositions and cover versions, along with "Summertime", a song originally written when Williams left Take That and later used in the credits of the film Mike Bassett: England Manager. Williams covers five songs on the record: "Louise", a 1984 hit for The Human League; "Kiss Me", by Stephen Duffy; "Lovelight", by Lewis Taylor; "We're the Pet Shop Boys", originally by My Robot Friend; and "Bongo Bong and Je ne t’aime plus", by Manu Chao.[8]

Conceptually, Rudebox blends nostalgia and reinvention. In his Track-by-Track Guide, Williams wrote that the album allowed him to revisit his formative influences—from British rap and new wave to acid house—within a freer, more experimental framework. "The 80’s" drew on the conversational style of UK garage and spoken-word poetry, whereas "The 90’s" was initially built around a sample from "Wichita Lineman" before evolving into a reflective monologue.[8][9]

Pet Shop Boys co-wrote and produced "She’s Madonna" after Williams played them Kraftwerk’s "Tour de France" as a sonic reference. The duo later described the collaboration on their official website as "a mixture of Robbie’s humour and our melancholy electronic style".[10]

Upon the album’s release, Williams reflected that Rudebox represented a personal turning point. He described it as the moment he felt creatively liberated, explaining that he could no longer make albums in the same style as before and that this new direction had "opened up a thousand other doors" for him as an artist.[9]

Williams subsequently worked with co-producer Mark Ronson again the following year on his covers album Version, contributing vocals to his cover of The Charlatans' 1990 hit "The Only One I Know".[11] The Apple Music description of Version dubs Ronson and Williams' rendition as having "transformed a baggy anthem into a Northern soul stomper".[12] The cover was also featured on select editions of Williams' 2010 greatest hits album In and Out of Consciousness: Greatest Hits 1990–2010.[11][13]

Controversies

[edit]

"She's Madonna was at the centre of a tabloid storm after Ashley Hamilton claimed that he[11] came up with part of the song with Williams. Hamilton has claimed he wishes to take the matter to court as he is not credited as a co-writer on the album.[14]

Further controversy arose over the track "The 90's", part of which implies that Williams was ripped off by Take That's manager Nigel Martin-Smith after the band failed to make a profit from a European tour. The song raised the ire of Martin-Smith, who demanded that the song be removed from the album. The omitted lyrics were rapped during the break before the second verse.[15] During a 2019 concert at The Roundhouse in London, Williams stated: "Somebody asked me to do The '90s tonight. But I can't [...] because I'll get sued by Nigel Martin-Smith".[16]

Critical reception

[edit]
Professional ratings
Aggregate scores
SourceRating
Metacritic53/100[17]
Review scores
SourceRating
AllMusicStarStarStarStar[1]
The GuardianStarStar[18]
The IndependentStarStarStar[19]
MojoStarStarStarStar[20]
musicOMHStarStar[21]
NME8/10[22]
NowStarStarStar[23]
The ObserverStarStar[24]
PopMatters7/10[25]
UncutStarStarStar[26]

According to review aggregator Metacritic, Rudebox received an average of 53 out of 100 indicating "mixed or average reviews", based on reviews from 12 critics.[17]

Rating the album 8 out of 10, Priya Elan of NME wrote "Luckily, Rudebox is the best thing he's ever put his name to," adding that "there's the double-headed autobiography of 'The 80's' (currently at the centre of a legal dispute) and its follow-up 'The 90's', the clattering 'Vogue' rap in the LA tale 'The Actor' and 'She’s Madonna' – possibly his most bonkers song ever".[27] Julie Broadfoot of BBC Music wrote: "There are a couple of tracks that wash over you but the album's a grower and some of the hooks will follow you around for hours," adding that "Good Doctor," a "tongue-in-cheek take on drugs, has bags of energy and the Stephen Duffy "Kiss Me" is brilliant. "She's Madonna" ("I love you baby, but face it she's Madonna") is a weird but fun tune about Queen Madge."[28]

Michael Hubbard, writing for musicOMH, found that Rudebox "ultimately is, as a whole, several decent records whinnying to escape from development too early, resulting only in an expensive-sounding missed opportunity".[21] Paul Flynn from The Observer wrote that "the hastily conceived Rudebox is bookmarked mostly by a ragbag of weary cover versions that even an advanced pop historian would have trouble connecting."[24] In his review for The Guardian, Alexis Petridis noted: "A scant handful of highlights aside, it is packed with half-baked ideas, bad jokes, music that any other star of Williams' stature would be terrified of the general public hearing. Perhaps that's the point. If nothing else, Rudebox is a sharp reminder that Robbie Williams is unique."[18]

Commercial performance

[edit]

In the United Kingdom, the album sold 54,667[29] copies on the day of its release, reaching number one on the midweek version of the UK Albums Chart. The next day, the album had sold over 75,000 copies.[30] The album debuted at No. 1 on the UK Albums Chart, selling over 147,000 copies in its week of release.[31] Despite reaching number one, sales were far below what was expected by his label EMI and overall sales were overtaken by his former band Take That's Beautiful World. However, the album performed better than Beautiful World outside the UK. The fallout of the album's relative failure led to the firing of two music executives responsible for the album's development.[32] As of December 2013, the album had sold 514,457 copies in the UK.[33] In 2008, NME reported that over one million unsold copies of the album were being sold to a company in China to be recycled and used as a road paving material.[34][35]

The album was released in the Netherlands on 20 October 2006, on the same day the album was certified platinum as a result of pre-order sales of over 70,000 copies.[36] In Belgium, the album sold 50,000 copies and went platinum. It was released on 23 October 2006 in Australia and debuted at number-one, achieving platinum status in its first week.[37] It has since been certified 2× Platinum. 220,000 copies of the album were sold in France on the week of release, as well as 600,000 in Germany. On 8 November 2006, IFPI certified the album 2× Platinum in Europe with sales of over 2 million copies, making it the fastest platinum selling album of 2006.[38] On 20 November 2006, the album reached number-one in Mexico, becoming Williams' first number-one album there. The album was certified platinum there, with sales of over 100,000 copies.

Sequel

[edit]

In December 2020, while promoting "Can't Stop Christmas," the second single from his twelfth studio album The Christmas Present (2019), Williams revealed to the Official Charts Company that he had recorded a dance album during the lockdown period, which includes collaborations with Guy Chambers and a number of dance music artists from Stoke-on-Trent. The untitled album was scheduled to be released in spring 2021, and might have been released with the band name Stoke House Mafia (a name inspired by 2010s chart stars Swedish House Mafia), though the report from the Official Charts Company had not confirmed whether the record was the Rudebox sequel or not.[39][40][41][42][43]

The album he referred to eventually materialised as the debut of his electronic side project Lufthaus, a collaboration between Williams, producers Tim Metcalfe and Flynn Francis. Signed to Armada Music, the group released its debut album Visions Volume 1 in October 2023.[44][45] The project fused Williams’ pop sensibility with the Berlin-inspired sound of melodic and progressive house, showcasing atmospheric synthesizers, club-oriented rhythms and introspective lyrics. Lufthaus released several singles including "Sway", "Soul Seekers" and "To the Light" before issuing their full-length record.[46]

Track listing

[edit]
Rudebox track listing
No.TitleWriter(s)Producer(s)Length
1."Rudebox"
Soul Mekanik4:45
2."Viva Life on Mars"
  • Williams
  • Andrews
  • Spencer
Soul Mekanik4:50
3."Lovelight"Lewis TaylorMark Ronson4:02
4."Bongo Bong and Je ne t'aime plus"
Ronson4:48
5."She's Madonna" (with Pet Shop Boys)
Pet Shop Boys4:16
6."Keep On"
Ronson4:18
7."Good Doctor"
  • Williams
  • Jerry Meehan
Ronson3:16
8."The Actor"
  • Williams
  • Brandon Christy
  • Craig Russo
  • Christy
  • Russo
4:06
9."Never Touch That Switch"
  • Andrews
  • Spencer
Soul Mekanik2:46
10."Louise"
William Orbit4:46
11."We're the Pet Shop Boys" (with Pet Shop Boys)My Robot Friend
  • Chris Zippel
  • Pet Shop Boys
4:56
12."Burslem Normals"
  • Williams
  • Andrews
  • Spencer
Soul Mekanik3:50
13."Kiss Me"DuffyDave Lee3:16
14."The 80's"
  • Williams
  • Meehan
Meehan4:17
15."The 90's"
  • Williams
  • Meehan
Meehan5:33
16."Summertime"
  • Williams
  • Antony Genn
Orbit5:42
17."Dickhead" (hidden track)
  • Williams
  • Meehan
Meehan4:09
Total length:74:44

Notes

Charts

[edit]

Certifications and sales

[edit]
Certifications and sales for Rudebox
Region Certification Certified units/sales
Argentina (CAPIF)[84] 2× Platinum 80,000^
Australia (ARIA)[85] 2× Platinum 140,000^
Austria (IFPI Austria)[86] 2× Platinum 60,000*
Belgium (BRMA)[87] Platinum 50,000*
Denmark (IFPI Danmark)[88] Platinum 40,000^
Finland (Musiikkituottajat)[89] Platinum 33,465[89]
France (SNEP)[90] Platinum 200,000*
Germany (BVMI)[91] 3× Platinum 600,000^
Hungary (MAHASZ)[92] 2× Platinum 12,000^
Ireland (IRMA)[93] 2× Platinum 30,000^
Italy
2006 sales 		— 150,000[94]
India[95] Gold 10,000[95]
Mexico (AMPROFON)[96] Platinum 100,000^
Netherlands (NVPI)[97] Platinum 70,000^
Portugal (AFP)[98] Gold 10,000^
Russia (NFPF)[99] Gold 10,000*
Spain (PROMUSICAE)[100] Gold 40,000^
Sweden (GLF)[101] Gold 30,000^
Switzerland (IFPI Switzerland)[102] 2× Platinum 60,000^
United Kingdom (BPI)[103] 2× Platinum 600,000^
Summaries
Europe (IFPI)[104] 2× Platinum 2,000,000*

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Rudebox

View on Grokipedia
from Grokipedia
Rudebox is the seventh studio album by English , released on 23 October 2006 by in the . The album comprises 18 tracks, blending original compositions with covers and interpolations of songs from the and 1990s, incorporating genres such as pop, hip-hop, R&B, electro, , and influences. Notable collaborations include the on and "We're the Pet Shop Boys," on "Bongo Bong and Je Ne T'Aime Plus" (a cover of Manu Chao's "Bongo Bong"), and production contributions from , , and . It debuted at number one on the , becoming Williams's seventh consecutive studio album to top the chart there, and sold 147,000 copies in its first week. The album's eclectic and experimental approach marked a departure from Williams's previous pop-oriented work, drawing inspiration from 1980s novelty rap and hip-hop, which he cited as influences from his childhood. Singles such as the title track "Rudebox," "Kiss Me," and "" were released, with "Rudebox" peaking at number four on the UK Singles Chart. Critically, Rudebox received mixed reviews: some praised its bold risks, fun energy, and Williams's irreverent style, while others criticized it as a "hodgepodge" lacking cohesion, though it was noted for its unique personality and musical variety. Despite initial commercial success, including certification of 2× Platinum (600,000 copies) in the UK and top-ten placements across , the album underperformed relative to expectations given Williams's prior sales, contributing to tensions with his label .

Background and development

Conception and influences

Following the more introspective and commercially successful Intensive Care (2005), sought to experiment with a bolder, more eclectic sound for his next project, drawing inspiration from , hip-hop, and club culture to infuse the album with energy and irreverence. This shift marked a deliberate departure from the serious tone of his prior work, aiming for a playful, risk-taking that incorporated R&B, electro, and hip-hop elements, including in tracks. Williams announced the album's direction in August 2006, describing Rudebox as the record where he "found himself" at age 32, embracing as a means to reignite his passion and break free from past artistic fears after seven studio albums. The "rude" style was intended as a cheeky, winking response to expectations, reflecting his desire to prioritize music he personally loved over predictable hits. Key influences included the , who collaborated on production and inspired ironic covers like "We're the ," as well as hip-hop pioneers such as the , whose 1986 track "" is interpolated in the title song alongside samples from 1980s dance hits like "Boops (Here to Go)" by The Dutch. Early collaborations were pitched with producers like , whose involvement helped shape the album's diverse, genre-blending approach. This creative pivot was further motivated by Williams' growing fatigue with media pressures and career demands, exemplified by the rocky start to his Intensive Care world tour earlier in 2006, where he issued refunds after the opening show and briefly declared his retirement from live performances.

Recording and production

The recording of Rudebox took place across multiple studios in 2006, with significant sessions at Sarm West Studios in for tracks including "," "Keep On," and "." Additional recording occurred at Rockband Studios and The Actors' Studios in for songs such as "Good Doctor" and "Summertime," as well as at and Allido Sound in for "," "Bongo Bong and Je Ne T'Aime Plus," and "Keep On." Other locations included Guerrilla Studios in for "Louise" and "The 90s," Wendy House Studios in for "Rudebox," "Viva ," "Annoying," "The 90s," "Never Gonna Cum," and "Bongo Bong and Je Ne T'Aime Plus" (additional parts), and Chillout Studios in for parts of "." Key producers on the album included , who oversaw tracks 3 ("Lovelight"), 4 ("Bongo Bong and Je Ne T'Aime Plus"), 6 ("Keep On"), and 7 ("Good Doctor"); , who produced tracks 5 ("She's Madonna") and 11 ("We're the Pet Shop Boys"); , handling electronic elements on tracks 10 ("Louise") and 16 ("Summertime"); Soul Mekanik (Danny Spencer and Kelvin Andrews), who led production on dance-oriented tracks such as 1 ("Rudebox"), 2 ("Viva Life on Mars"), 9 ("Never Touch That Switch"), and 12 ("Burslem Normals"); as well as Jerry Meehan and Dave Lee. The sessions, which began following the release of Williams's previous album Intensive Care in late and continued through mid-2006, resulted in the selection of for the final album. Production emphasized a blend of live —featuring guitars, drums, bass, keyboards, and brass—alongside programmed beats, synthesizers, and samples to support the album's eclectic and hip-hop influences. Mixing was handled by engineers including Jeremy Wheatley at 21st Century Studios and at MixStar Studios, with final tweaks aimed at optimizing playback in club settings.

Composition and artwork

Musical style and structure

Rudebox exemplifies a foundation blended with hip-hop, , , and influences, resulting in a diverse sonic palette that spans multiple genres across its 17 tracks. The album's runtime totals approximately 74 minutes, with individual songs averaging around , balancing high-energy anthems like the title track with mid-tempo grooves such as "Louise." This structure allows for a dynamic listening experience, emphasizing rhythmic drive and eclectic arrangements rather than uniform tempo. Key stylistic features include the heavy incorporation of samples, particularly evoking rave and sounds, as heard in the title track's of Sly & Robbie's "Boops (Here to Go)." adds a raw, performative edge to "Rudebox," while orchestral swells provide emotional depth to ballads like "," produced with lush string arrangements by . These elements contribute to the album's experimental vibe, drawing on retro electronic motifs and bold production choices to create a sense of playful chaos. The album's flow adopts a non-linear structure, opening with the rap-heavy "Rudebox" featuring Charmaine Baines and , then shifting through pop duets and eclectic covers before concluding with the hidden track "Dickhead," which layers profane spoken-word elements over ambient beats. This progression mirrors Williams' influences, transitioning from aggressive hip-hop intros to reflective and psychedelic interludes, ensuring no two consecutive tracks adhere to the same formula. "The 90s" near the end adds experimental layers of spoken-word over ambient beats. Instrumentation plays a central role in achieving authenticity and variety, relying on synthesizers for electronic textures, turntables for and sampling effects, and influences from British rap like the on "The 80s." Live drums ground tracks like "Keep On" in organic funk, while keyboards from collaborators such as enhance the ambient and orchestral layers throughout.

Lyrics and themes

The lyrics of Rudebox delve into a tapestry of central themes, prominently featuring for club culture, celebrity , personal redemption, and , marking a bold departure in ' songwriting. Tracks like "The 90s" evoke a reflective of Williams' early career, including pointed references to his past and the era's vibrant nightlife, blending wistful reminiscence with sharp cultural callbacks to and pop stardom. Similarly, the title track "Rudebox" serves as a boastful party that critiques the excesses of fame through playful commands like "Do the rudebox/Shake your rudebox," incorporating slang and pop culture nods such as tracksuits to lampoon celebrity vanity. Celebrity satire emerges vividly in duets like "She's Madonna," a collaboration with the Pet Shop Boys that dissects tumultuous relationships and iconic figures through irreverent lines about Madonna's influence, underscoring fame's corrupting allure with a mix of admiration and mockery. Personal redemption threads through the album as Williams confronts his evolving identity, as seen in "Dickhead," where self-deprecating irony flips insults into mutual critiques, signaling a reclaiming of authenticity after years of introspection. Hedonism pulses in songs like "Keep On," celebrating a carefree "boogie lifestyle" rooted in late-1980s and 1990s influences, while contrasting euphoric highs with underlying personal struggles in "Summertime." Wordplay and humor infuse the lyrics with pun-heavy flair and explicit language, exemplified by the cover "Bongo Bong and Je Ne T'Aime Plus" featuring , which twists Manu Chao's original into a cheeky narrative of mismatched lovers through rhythmic and absurd imagery. Tracks like "Good Doctor" employ medical puns and complex rhymes to humorously navigate sobriety's constraints, while "The Actor" delivers a sub-Eminem rant laced with profane outbursts, such as ending on "I’ve got a bucket of shit!" This irreverent tone extends to broader motifs, with Jamaican slang in novelty hip-hop segments adding a layer of pisstaking levity. The album represents an evolution from Williams' prior work, shifting from the introspective ballads of Intensive Care to playful, irreverent rap verses that embrace "" experimentation, re-igniting his creative spark after eight albums by prioritizing unfiltered self-expression over polished sentimentality. Guest contributions amplify these themes, as in "," where explicit dialogue on icons and romance heightens the satirical edge, and Lily Allen's input on "Bongo Bong and Je Ne T'Aime Plus" injects youthful banter into the hedonistic duet dynamic.

Artwork

The album cover features posing in a red against a vibrant graffiti-covered , reflecting the album's urban, hip-hop inspired aesthetic. The booklet includes graffiti artwork by Russell Cole, enhancing the raw, street-art vibe.

Release and promotion

Marketing strategies

EMI/Chrysalis Records announced the release of Rudebox in , building pre-release hype through the teaser single "Rudebox," which debuted on September 4 and achieved significant chart success across based on digital downloads alone. This strategy positioned the album as a bold, experimental shift, emphasizing collaborations with artists like the , , and to generate buzz among fans anticipating Williams' evolution from previous pop-oriented works. The promotional campaign integrated with Williams' ongoing , spanning April to December 2006 across global venues, where live performances of album tracks like "Rudebox" and "" served as direct tie-ins to heighten excitement during the tour's European and international legs. Merchandise efforts included limited-edition packaging featuring a bonus DVD with Rudebox Shorts, a collection of thematic short films by independent directors, designed to enhance the album's irreverent, multimedia appeal and encourage collector interest. A media blitz encompassed television appearances, such as performances on , to reach UK and European audiences, alongside the November 2006 release of the promotional DVD And Through It All, compiling live footage and interviews that reinforced Williams' charismatic persona. Partnerships extended to interactive elements, including endorsements tied to Williams' personal gaming interest, which aligned with the tour's downtime activities and broadened non-music media exposure. Targeting primarily and European fans, the strategy incorporated club-oriented previews through tour-adjacent events, while the £80 million deal underscored substantial promotional investment, estimated in the multimillions for global rollout. Digital initiatives marked an early pivot to online engagement, with exclusive bonus tracks and a campaign that saw Williams' profile crash from fan traffic on release day, October 23, 2006, amplifying viral word-of-mouth.

Singles and videos

The album Rudebox was supported by five singles released between and 2007, primarily in physical CD formats, digital downloads, and club-oriented remixes to target radio and dance markets. These releases emphasized eclectic covers and original tracks aligned with the album's diverse influences, though chart performance varied, with stronger success in compared to the . Each single was promoted through extensive radio airplay on stations like and live performances during Williams' promotional tours. The , "Rudebox," was released on September 4, 2006, in and digital formats, including remixes such as the Soul Mekanik Dub and Chicken Lips Malfunction versions for club play. It peaked at number 4 on the UK Singles Chart, spending 11 weeks in the top 100, and reached number 1 in and , as well as number 1 in . No certifications were awarded for the single. The accompanying , directed by Seb Janiak, depicts Williams and breakdancers performing in a , with the singer in New York-inspired , emphasizing an urban, energetic vibe. "Kiss Me," a cover of Stephen Duffy's original, followed on October 10, 2006, available as a digital download but with limited physical release. It charted modestly at number 84 on the for two weeks, reflecting its promotional rather than commercial focus, and saw minor international airplay without notable peaks. No official was produced for this single. "Lovelight," produced by and covering Lewis Taylor's 2003 track, was issued on November 13, 2006, in CD single, digital, and remix formats, including a mix. It achieved a peak of number 8 on the UK Singles Chart over nine weeks, with the physical release boosting its position from an initial download debut at 28; internationally, it reached the top 10 in several European countries. The music video, directed by Jake Nava, shows Williams performing in a dark club (Semper Depot) surrounded by female dancers, creating a soulful, intimate atmosphere. No certifications were reported. "," a collaboration with released on March 5, 2007, came in CD maxi-single and digital editions, featuring extended mixes. It peaked at number 16 on the UK Singles Chart for three weeks and performed better abroad, reaching number 2 in the . The video, directed by , portrays Williams as a in a setting, opening with an interview in drag and featuring performers like . No certifications were issued. The final single, "Bongo Bong and Je ne t'aime plus" (a medley of tracks featuring ), was released promotionally on January 22, 2007, primarily in via digital and limited CD formats, without a full commercial push or chart entry there. It received radio support in select markets but no major chart peaks or were documented.
SingleUK PeakInternational HighlightsRelease DateFormats
"Rudebox"4#1 , , Sept 4, 2006CD, digital, remixes
"Kiss Me"84Limited airplayOct 10, 2006Digital
""8Top 10 Nov 13, 2006CD, digital, remixes
""16#2 Mar 5, 2007CD maxi, digital
"Bongo Bong and Je ne t'aime plus"-Promotional in Jan 22, 2007Digital, limited CD

Controversies

One of the primary legal disputes surrounding Rudebox involved the track "The 90s," where accused his former manager, , of financial misconduct in the , implying theft after the band's 1996 split. Martin-Smith filed a against Williams in , leading to a settlement in 2007 in which Williams agreed to pay undisclosed , cover costs, issue a public apology, and re-record the song with altered for future releases. Another controversy centered on "She's Madonna," a collaboration with , when American songwriter —stepson of and prior collaborator with Williams—claimed in August 2006 that he co-developed the song's concept and chorus during sessions with Williams, accusing him of unauthorized use. The claim sparked tabloid attention and threats of legal action, though it did not result in a formal case; Hamilton was ultimately not credited as a co-writer on the album or single releases, with official songwriting attributed to Williams, , and . These disputes contributed to additional production costs for re-recording and legal fees, as well as heightened media scrutiny during the album's October 2006 launch, though no tracks were ultimately removed from Rudebox.

Public backlash

Upon its release in October 2006, Rudebox faced immediate public backlash for its eclectic blend of genres, including rap, electro, disco, and hip-hop, which many perceived as an incoherent departure from Williams' established pop sound. Media outlets described the album as a "confusing" and "messy" collection lacking cohesion, likening it to a "musical miscellany in search of an editor" that prioritized experimentation over unity. Tabloid coverage amplified this sentiment, with The Sun branding the title track as "rap with a silent c" and the "worst song" ever heard, contributing to headlines portraying the project as a potential "career killer" that signaled the end of Williams' dominant commercial era. The album's timing exacerbated the controversy, as it arrived during Williams' ongoing struggles with stage fright and prescription drug dependency, which intensified in 2006 while he was promoting the record. Critics and observers accused the party-oriented, hedonistic themes—evident in tracks like the explicit rap-heavy title song—of insensitivity toward his visible recovery process, clashing with the sobriety he was attempting to maintain. This perception fueled broader media scrutiny, with unsold copies reportedly repurposed for road paving in China, symbolizing the project's commercial and cultural rejection. Fan reactions were deeply divided, with older audiences rooted in Williams' pop legacy feeling alienated by the prominent rap elements and explicit lyrics, prompting widespread confusion and dismissal in early online forums and media reports. While a younger demographic appreciated the club-friendly vibe and bold risks, the overall backlash highlighted a generational , as evidenced by mixed responses to singles like "Rudebox," which sparked debate over Williams' stylistic pivot. In response, Williams defended the album in 2006 interviews as a personal artistic breakthrough, insisting he had overcome fears of innovation and stood by its strength despite detractors, though he later expressed partial regret over its timing in subsequent reflections.

Critical reception

Reviews and ratings

Rudebox received mixed reviews from critics upon its release in October 2006, with an aggregate score of 53 out of 100 on based on 12 reviews, indicating average or mixed reception. The album's eclectic mix of , hip-hop, and covers drew praise for its energy and playfulness from some outlets, while others criticized its lack of cohesion and overambitious experimentation. Positive reviews highlighted the album's inventive and fun spirit, particularly its stylistic risks in blending genres. described it as "the best thing he’s ever put his name to" and "an amazing pop album," commending its frantic, self-deprecating energy across tracks like "The 80s" and "." Similarly, Mojo awarded it 80 out of 100, calling it "an intriguing, funny and inventive listen" that captured Williams' playful side. Uncut gave it 60 out of 100, noting that at its best, it was "the funniest, most adventurous and liveliest record of his career." Critics who were less favorable pointed to the album's disjointed structure and uneven execution. AllMusic rated it 2 out of 5 stars, criticizing its genre-hopping as forced and lacking focus. Q magazine scored it 40 out of 100, deeming Williams "bored and directionless" on the record. The Guardian portrayed it as a "hodgepodge" and "vanity project," with experiments in rap and covers failing to cohere into a satisfying whole despite nods to influences like the Pet Shop Boys; one review described it as packed with half-baked ideas. Reception varied regionally, with stronger praise in the UK for its dance elements compared to harsher critiques in the US over Williams' rap forays. UK-based and Mojo emphasized its pop vitality, while US publication rated it 40 out of 100, viewing it as hovering "uneasily somewhere between wholesale reinvention and mere superstar vanity project." Williams himself promoted the album enthusiastically, stating in interviews that it represented the music he always wanted to make, contrasting with critics' views of it as an overambitious misstep.

Accolades and retrospective views

Upon its release, Rudebox earned a nomination for the Award in the International Hit of the Year category for its title track, which Williams ultimately won in 2007, recognizing the song's songwriting achievement despite the album's polarizing reception. The project also secured the Echo Award for International Artist of the Year at Germany's 2007 ceremony, honoring Williams' global impact with the record. However, the album itself received no major accolades, with outlets like ironically awarding it Worst Album of 2006 based on reader votes, underscoring its divisive status among critics and fans. In the , retrospective views began to reframe Rudebox as an underrated , moving beyond its initial mixed scores toward appreciation for its experimental boldness. A 2016 hailed it as "the best electro record ever made," praising its genre-blending innovation and Williams' unapologetic shift from pop norms. Similarly, a 2017 Attitude feature argued the album "shoulda been huge," highlighting its eclectic influences—from hip-hop to covers—as a joyful, ahead-of-its-time joyride that deserved reevaluation. These pieces positioned Rudebox as a misunderstood pivot in Williams' career, emphasizing its among listeners who valued its risk-taking over commercial polish. Post-2020 perspectives have further emphasized the album's role in Williams' artistic evolution, particularly through cultural references tying it to his personal and professional reinvention. The 2024 biopic Better Man, which chronicles Williams' life with him as a CGI narrator, portrays Rudebox as a pivotal "career-shattering mission" of novelty rap and excess, yet one that captured his chaotic creative peak. This depiction aligns with Williams' own 2023 reflection, where he called its release his "biggest regret" due to timing amid personal struggles, but acknowledged the title track's nod as a silver lining. By 2025, the album has seen a streaming resurgence on platforms like , accumulating over 38 million plays, signaling enduring niche appeal among newer audiences discovering its quirky charm.

Commercial performance

Chart performance

Rudebox debuted at number one on the on 4 November 2006 and spent a total of 14 weeks on the chart. The album also entered the European Top 100 Albums chart at number one in the same week, marking ' seventh consecutive number-one album in the region, and held the top position for three weeks before spending additional time in the top ten. Internationally, Rudebox topped the albums charts in 14 countries, including , where it debuted at number one on the ARIA Albums Chart in late October 2006; , where it held the summit for three weeks; ; ; ; the Netherlands; (Flanders region); ; ; ; ; ; ; and . In , the album received limited promotion and was not officially released in the United States, though import copies allowed it to peak at number 160 on the for one week in December 2006. The album's strong European performance contributed to its sustained visibility, remaining in the top five of several national charts for over 20 weeks cumulatively across the continent, while singles such as "Lovelight," which peaked at number eight on the UK Singles Chart for one week, helped maintain momentum.

Sales and certifications

Rudebox achieved significant initial commercial success in , selling over 2 million copies shortly after its release and earning a 2× Platinum from the International Federation of the Phonographic Industry (IFPI) in November 2006. Globally, the album has accumulated approximately 2.9 million equivalent album sales (EAS) as of 2019, factoring in physical sales, downloads, and streaming equivalents, with estimates suggesting it has reached around 3 million units by 2025. In the , it sold 514,457 copies by December 2013, marking a notable decline compared to prior releases like . The album received various certifications reflecting its regional performance. In the UK, it was certified 2× Platinum by the British Phonographic Industry (BPI) for shipments exceeding 600,000 units. Germany awarded 3× Platinum status through the Bundesverband Musikindustrie (BVMI) for over 600,000 shipments, while Australia granted 2× Platinum by the Australian Recording Industry Association (ARIA) for 140,000 units. Other markets included Platinum certifications in countries such as Mexico (100,000 units via AMPROFON) and Belgium (50,000 units via Ultratop).
Region/CountryCertificationUnits/ShipmentsCertifying BodyDate
Europe2× Platinum2,000,000IFPINovember 2006
2× Platinum600,000BPINovember 2006
3× Platinum600,000BVMI2007
2× Platinum140,000ARIADecember 2006
Platinum100,000AMPROFONOctober 2006
Platinum50,0002006
Despite its European dominance, Rudebox underperformed relative to expectations following Williams' previous multi-million-selling albums, leading to overproduction. In 2008, EMI shipped more than one million unsold copies to China, where they were crushed and recycled into materials for road surfacing and street lighting projects as part of a cost-cutting measure amid the label's financial losses.

Track listing and credits

Standard edition tracks

The standard edition of Rudebox, released on CD by in the and internationally on 23 October 2006, contains 16 tracks, with the final track incorporating a hidden bonus track after a period of silence, often enumerated as 17 tracks in digital formats. The total runtime is 74:38.
No.TitleDurationWriter(s)Producer(s)
1"Rudebox"4:45Danny Spencer, Kelvin Andrews, Soul Mekanik
2"Viva "4:50Danny Spencer, Kelvin Andrews, Soul Mekanik
3"Lovelight"4:02
4"Bongo Bong and Je Ne T'Aime Plus"4:48, Anouk
5"" (featuring )4:16, ,
6"Keep On"4:18Chris Heath, ,
7"Good Doctor"3:16Jerry Meehan,
8"The Actor"4:06Brandon Christy, Craig Russo, Brandon Christy, Craig Russo
9"Never Touch That Switch"2:46Danny Spencer, Kelvin AndrewsSoul Mekanik
10"Louise"4:46, , Adrian Wright
11"We're the " (featuring )4:56My Robot Friend, , , Chris Zippel
12"Burslem Normals"3:50Danny Spencer, Kelvin Andrews, Soul Mekanik
13"Kiss Me"3:16Dave Lee
14"The 80's"4:17Jerry Meehan, Jerry Meehan
15"The 90's"5:33Jerry Meehan, Jerry Meehan
16"Summertime"5:40Ant Genn,
17"Dickhead" (hidden track)4:14Jerry Meehan, Jerry Meehan
The track listing is consistent across UK and international standard editions, with no major variations. The Japanese edition adds the exclusive bonus track "Lonestar Rising".

Personnel

Robbie Williams served as the lead vocalist on all tracks of Rudebox, with additional contributions on for "Good Doctor". Key guest vocalists included Charmaine Baines and on "Rudebox", on backing vocals for "Bongo Bong and Je Ne T'Aime Plus" and "Keep On", Clover Ray and Lanni on "Never Touch That Switch", N’Dea Davenport on "", Bailey Tzuke and on "The Actor", and Katherine Ellis on "Kiss Me". The , consisting of and , provided production, programming, and backing vocals on "She's Madonna" and "We're the Pet Shop Boys", with Pete Gleadall handling additional programming and engineering. Prominent producers and instrumentalists featured , who handled production, bass, guitar, scratches, Juno 106, and beats programming on tracks including "", "Bongo Bong and Je Ne T'Aime Plus", "Keep On", and "Good Doctor". contributed guitar, keyboards, bass, instrumentation, production, and mixing on "Louise" and "Summertime". Soul Mekanik produced "Rudebox", "Viva ", "Never Touch That Switch", and " Normals", while Danny Spencer and Kelvin Andrews provided writing, backing vocals, programming, synthesizers, and Moog on those tracks. Other notable musicians included Jerry Meehan on bass, backing vocals, , keyboards, and programming for several tracks; Raymond Angry on various keyboards, organ, and strings; Neil Taylor on for "The 80's", "The 90's", and "Dickhead"; and Steve Sidelnyk on for "Louise", "Summertime", and "The 90's". The album involved over 50 contributors in total, encompassing horn sections such as Ian Hendrickson-Smith on , Neil Sugarman on , and on for tracks produced by Ronson; string and percussion elements from Karl Miller, Sam Koppelman, and others; and backing vocal ensembles including Kristina Paraskeva and Laurie Mayer on Orbit's tracks. Brandon Christy and Craig Russo co-produced and engineered "The Actor", with Christy also on guitar, keyboards, Fender Rhodes, and backing vocals. Dave Lee produced and played keyboards on "Kiss Me", supported by Michele Chiavarini on keyboards. Engineering and mixing were handled by a team including Jeremy Wheatley on mixing for multiple tracks such as "Rudebox", "Viva Life on Mars", "Never Touch That Switch", and those produced by Jerry Meehan; Serban Ghenea on Ronson's tracks; Tim Weidner on Pet Shop Boys productions; and Paul Lani on "The Actor". Assistant engineers included Andy Marcinkowski and Jesse Gladstone, while specific track engineering came from Matt Kemp, Rob Smith, Iain Roberton, John O’Donnell, and Chris Brook. Additional roles encompassed MIDI programming by Rico Conning and Pete Gleadall, and synthesizer work by Vaughan Merrick.

Legacy

Sequel projects

Following the release of Rudebox, Robbie Williams expressed interest in developing a sequel project. In a 2013 interview, he defended the album's experimental approach and indicated he was contemplating a follow-up, stating that the record's mishandled promotion had overshadowed its merits. This idea resurfaced in early 2023, when Williams revealed plans for multiple releases that year, including a desire to create Rudebox 2 alongside material for his electronic side project. Related to this interest in electronic music, the project developed into the debut Visions Volume 1 by Lufthaus, a collaboration featuring Williams alongside producers Flynn Francis and Tim Metcalfe, with Williams serving as and contributing vocals to select tracks. Released on October 6, 2023, via , the emphasizes electronic and elements, aligning with Rudebox's dance-oriented experimentation. As of 2025, no Rudebox 2 has been released. An indirect extension appeared on Williams's 2010 greatest hits compilation In and Out of Consciousness: Greatest Hits 1990–2010, which incorporated the radio edit of the title track "Rudebox" among its selections.

Cultural impact and reappraisal

Despite its initial commercial disappointment, Rudebox has undergone significant reappraisal in subsequent years, with critics and fans increasingly viewing it as a bold, experimental work that anticipated trends in eclectic pop and electronic music. A 2016 Vice article hailed the title track as "the best electro record ever made," praising its unapologetic fusion of hip-hop, electro, and cheeky British humor as a liberating departure from conventional pop structures. Similarly, a 2017 Attitude retrospective described the album as a "breakneck joyride through [Williams'] influences," arguing it deserved greater recognition for its genre-mashing creativity, including robotic funk and retro synth elements that prefigured later UK pop experimentation. The album's cultural footprint extends to its role in broader discussions of and excess, particularly highlighted in Williams' 2023 Netflix documentary series , where he reflects on Rudebox as a pivotal, if regrettable, creative risk amid personal turmoil. In the series, Williams labels the title single his "biggest regret," citing its departure from his pop-rock roots into awkward rap territory as a moment of vulnerability that drew derision but also marked a toward artistic freedom. Fans, however, rallied in response, launching campaigns like #JusticeForRudebox to defend its quirky charm, underscoring a shift from 2006's mockery to 2020s cult appreciation. Rudebox also left a symbolic mark on environmental discourse through the fate of its unsold copies; in 2008, EMI shipped over one million units to for into road surfacing material, an early instance of the music industry's pivot toward sustainable practices amid digital disruption. This anecdote, reported widely at the time, has been revisited in analyses of the era's decline, positioning Rudebox as an inadvertent emblem of both commercial overreach and eco-conscious repurposing. In terms of ongoing cultural references, the album inspired Rudebox Shorts, a 2006 collection of seven independent short films commissioned by Williams to visually interpret its themes, blending mockumentary-style vignettes with experimental visuals that captured its irreverent spirit. Live performances persist as nods to its legacy; Williams has incorporated Rudebox into medleys during tours, including snippets in his 2013-2014 shows and occasional revivals in later setlists, signaling its enduring, if niche, place in his catalog.

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