Take That have the biggest selling album of the century. Blimey! I for one was disappointed at Robbie’s decision to re-join the rapidly middle-ageing man-band singing middle of the road ballady type things. Let’s face it, if they didn’t have Barlow, they’d be duking it out for the lamest cover with Westyawn…sorry Westlife. In my mind Robbie’s willingness to bury the hatchet symbolized the unexplainable loss of his mojo.Then you started hearing words like techno and sleazy funk connected to the new material. How about The Killers and Muse? Say what?!? Could TT have actually broken the mold of tasteless cashing- it- in band reunions that, let’s face it, most of them are? I take it all back. This is the best thing Robbie could’ve ever done. ‘Progress’ is not an aging boyband album. It is a relevant, electro thumping, bizarre futuristic paranoia and factory machine marching jackboots sound of the apocalypse. Fabulously weird. I could’ve chosen almost any of the tracks as my favorite to feature here, but as a proof of how quickly a leopard (me) can change its spots I chose ‘Happy Now’ a Depeche-Modey steamy disco piece that features a sexy Barlow (words I thought I would never utter let alone type) on the vocals and proves beyond any doubt kidz, this ain’t your mother’s TT.