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Jun 13

TAKE THAT – “Never Forget”

Popular • 3,289 views

#724, 5th August 1995

never I’m a sucker for a self-conscious farewell. I bought final issues of comics I’d never prevoiously read. My best Doctor Who memories were the regenerations. As a student, my favourite Shakespeare was The Tempest. And look! Here’s Gary Barlow as Prospero, drowning his songbook, letting Caliban free to hang out with Oasis at Glasto, moving on and leaving behind him maybe the most self-important single a boyband has ever produced.

It ought to be terrible. Perhaps it is. It’s hubristic enough to write about how you “looked each day and night in the eye” without hauling on a cherub to sing it. “We’re still so young, and we hope for more” – stay tuned for the solo careers, kids! “With danger on my mind I would stand on the line of hope and I knew I could make it”: wait, what? Now, probably “Never Forget” was written before the split became obvious – though it was surely on the wind – so these abstractions were just pseudo-profound horseshit from a songwriter groping tragically for meaning. By the time it actually reached us, though, it was retooled by the video-makers, marketers and Jim Steinman into “The Ballad Of John And Yoko” meets Gary Barlow Superstar. (And wouldn’t Robbie make a great Judas?)

But, slapdash and grotesque though it is, I like it. I’d happily call it their best single if it wasn’t for all the really terrible bits (The whole “invincible” bit, for a start). Why?

First, though this isn’t actually their final single, overdramatising a split is probably what the fans need and deserve. No hollow thanks and mutterings about really special plans for the future from men who are clearly hating every second of the job they’re quitting. To the fans – these fans of this band especially – a split was armageddon, or at least to be played as it. Take those feelings seriously – give the fans some catharsis! “Never Forget” does this, and then some.

Second, the combination of Barlow, Steinman and Brothers In Rhythm makes “Never Forget” a single that sounds like very little else. We’re about to enter a dark time in which “epic” in British pop is going to be codified in terms of string sections, stately plods, and pained rock vocals. Here is a parallel vision for bigness in pop: gospel choirs and boyband harmonies, stadium rock choruses emerging out of elephant-legged R&B. It’s blowsy, absurd, and unsustainable but glorious when it works – when the chorus hits you can see the fireworks shooting up from the stage.

Finally – and this is the important bit – the whole teetering folly of “Never Forget” is just a delivery system for Gary’s probably finest, and certainly wisest chorus. “Never forget where you’ve come in from / Never pretend that it’s all real / Someday soon this will all be someone else’s dream”. This is really good, grounded advice, not just as a pop fame survival guide, but as a way of staying level-headed about the transient things in life. It’s rare for a group to realise their moment has passed, rarer for them to acknowledge it, and in this chorus Take That are singing not just about themselves, but about their fans, and about fandom and youth.

Researching this song I watched its home-movies clipshow video on YouTube – a visual farewell tour, not an uncommon gambit since splitting bands become harder to convene for video shoots. Below it though were a surprising number of comments from kids, who had turned the song into school leaving videos – some secondary, most primary. They weren’t posting the videos themselves (thankfully) but I was surprised how moving I found the idea of it – 11 and 12 year olds taking this song, an oldie for them, and turning the self-mythologising into something they could use to navigate their own life changes. We all want to turn our lives into stories – “Never Forget” is a song about exactly that, and works as both a tool for doing it and a warning of the consequences.

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Comments

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  1. 26
    hardtogethits on 1 Jul 2013 #

    I’m so astonished at the benevolence towards this that I feel tomorrow might be one of those days when I’m in a bit of a bad mood and I spend most of the day trying to work out why. It’s not just that I think the lyric is awful, and the music dull and drawn out, and the choir doubly bathetic (in concept and execution), and the theme of the song painfully self-referential; it’s all of these things and then on top of that the fact that the song could only exist BECAUSE Take That had outstayed their welcome. And yet, they still didn’t leave straight away.

  2. 27
    anto on 1 Jul 2013 #

    As much as Gary Barlow claims he was following Eltons every move he was clearly looking to his inner Lloyd Webber with this one. This is one of the first singles where I can recall having an opinion about the production and arrangement(I wasn’t that keen on either). Actually I probably couldn’t tell one from the other but by this stage I was at secondary school and therefore sophisticated.
    It’s odd that I find myself commenting solely on Mr. Barlow each time we return to Take That considering he was (unfairly) tagged “the boring one”. For me he’s the most interesting member of an uninteresting group. As for the other fella – a lot closer to my idea of a bore – we’ll have plenty of time to talk about him as the solo career kicks off.

  3. 28
    hectorthebat on 1 Jul 2013 #

    Sample watch: that introduction is verdi’s “dies irae – tuba mirum”

  4. 29
    thefatgit on 1 Jul 2013 #

    The thing that makes me sympathetic to TT here is that they parade their shortcomings as something to cherish. Gary’s clunky lyrics (why not “…forget where you are coming from”? Instead it’s “…forget where you have come in from”). Come in from where? The car park? It’s those little idiosyncratic word selections that, in hindsight aren’t as frustrating as they should be. Barlowisms, like those found in their previous #1 singles can be used as a stick to bash TT with. I know I have in the past, but now I consider them as somewhat endearing. This is the last time we’ll be discussing Barlowisms from a TT perspective, I think.

  5. 30
    Patrick Mexico on 1 Jul 2013 #

    Re 23: Ha. That is a risk, but I review these hits similarly to Tom – it depends on my mood at the time and instinctive reflex emotions. Unfortunately, today I have the reflex of a Daily Mail reader. A quick sabbatical may be needed.

    I have been intending to take a break from Popular to steel myself for a certain monster number 1, but when I do that I jam my brain with more broken heroes; ie listening to the (1989) Heart of Rock and Soul’s 1001 Greatest Singles on Spotify. It’s a great, sprawling read, but not as good as Popular. Most Motown/Stax/Chess/50s rock n roll/60s British Invasion “classics” are all present and correct but there’s a nagging sense of “Ugh, sans Prince/Jacko/I Feel For You the Eighties were just flashy, trashy and HORRID!” From someone who chose as one of the chosen ones.. Er.. Get Out Of My Dreams, Get Into My Car.

    At 267, there is a song with very similar, soul-cleansing themes to Never Forget of looking back to your roots, and does the “heartwarming” schtick what it does very well. Unfortunately, I fear what the FT literati would make of Small Town by John Cougar Mellencamp.

  6. 31
    Patrick Mexico on 1 Jul 2013 #

    Take comment 2 as “gospel”.. Sticking with my 6.. childhood mark inflation isn’t a problem here as I never “got” TT at the time. But I wasn’t their target audience so swings and roundabouts.

    Besides, I burnt all my cynical bridges early on. Nearly everything in 1989 got 3 or less, except Black Box, Soul II Soul and Lisa Stansfield, the latter being mostly because I thought it was great defiance of nature’s laws that someone from Rochdale – or any Accy-like northern milltown you bring up – had a sense of glamour. I was amazed reading about the Hacienda as a teenager, having been at nursery school when it peaked – I just thought all people did in Manchester was watch Coronation Street and cry.

  7. 32
    Patrick Mexico on 2 Jul 2013 #

    In the interests of balance and sanity, I’ll put this back to a (good) 5 and say no more except thank you, goodnight, and sorry for nearly ruining this thread being such an oaf!

    Next please..

  8. 33
    enitharmon on 2 Jul 2013 #

    hectorthebat @28

    … a piece of which Steinman is inordinately fond, it seems.

  9. 34
    mapman132 on 3 Jul 2013 #

    Its victory lap sound probably prevented this from becoming a hit in the US where of course they were never more than one hit wonders. It’s a decent song in the proper context though – I’d be willing to give it a 7.

  10. 35
    Steve Williams on 3 Jul 2013 #

    What I don’t think anyone’s mentioned so far is that although this was loaded with significance as being about Robbie leaving, that appeared at the time to be simple serendipity because he actually departed in between the record being released to radio and so on, and then its actual release. Certainly I remember the only interest in it initially came from the fact Howard was singing it.

    That’s why Robbie’s on the sleeve and in the video, but by the time they started actively promoting it (I remember their first post-Robbie interview was the weekend before its release on the otherwise long-forgotten Steve Wright’s People Show on Saturday night BBC1) he’d buggered off.

  11. 36
    fivelongdays on 3 Jul 2013 #

    13-year-old me hated this, but 31-year-old me quite likes it. Never knew it had Steinman’s imput, nor did I realise the lyrics weren’t ‘Never Forget where you’re coming from’.

    Think I’ll give it a six.

  12. 37
    hardtogethits on 3 Jul 2013 #

    “Never Forget where you’re coming from” doesn’t make much sense. Linguistically and grammatically, it’s a load of shite.

  13. 38
    Tom on 3 Jul 2013 #

    I really like “where you’ve come in from” – I don’t think it’s clumsy. It’s making the point that the thing you’re part of is bigger than you are – we are all outsiders, coming in from somewhere and able to leave (or be kicked out) as quickly.

  14. 39
    will on 4 Jul 2013 #

    Re 35: I always suspected that this was written specifically as TT’s great group farewell. Barlow doubtless saw this as the point where he’d make for the exit and a George Michael-style solo career, but when Robbie left first this meant he had to hang on a bit longer so it didn’t look as if RW had split the group.

  15. 40
    MarkG on 4 Jul 2013 #

    .. except Rob did not leave, he was told to go.

  16. 41
    punctum on 4 Jul 2013 #

    100 years from now, who’ll know the difference?

  17. 42
    Mark G on 4 Jul 2013 #

    Glen Matlock for a kickoff.

  18. 43
    punctum on 4 Jul 2013 #

    Will he be alive in 100 years’ time? Paddy Power taking bets now.

  19. 44
    flahr on 4 Jul 2013 #

    If this interview is anything to go by, Lee ‘Scratch’ Perry will still be alive in 2113. (Sadly not conducted by me, I was relegated to writing about the new My Bloody Valentine that week.)

  20. 45
    punctum on 4 Jul 2013 #

    “I have no plans to die” – that’s the spirit. Avoid dead chickens, folks!

  21. 46
    lonepilgrim on 4 Jul 2013 #

    i’m curious to know when the pattern of disaffected/ambitious band member jumps ship to start a new career began in UK pop. I can think of Graham Nash and the Hollies – and most of the Beatles were eyeing up the exit towards the end – but perhaps there were earlier examples

  22. 47
    Mark G on 4 Jul 2013 #

    How about Jet Harris and Tony Meehan, independantly, from The Shadows.

  23. 48
    The Lurker on 4 Jul 2013 #

    Clapton from the Yardbirds?

  24. 49
    Rory on 4 Jul 2013 #

    Just my luck… I wait three Popular years for entry #725, and now it’s all going to happen while I’m on holiday. Expect my by-then-obsolete thoughts at around the comment-300 mark on July 15th!

  25. 50
    Tom on 4 Jul 2013 #

    Sorry Rory – it’s about half-finished but I’ve been having to do a lot of work writing, and the entry has ended up quite long.

  26. 51

    The entire subterranean history of London club-based music from Ken Colyer across to Alexis Korner is a blizzard of mutual disaffection, really. Everyone thought everyone else was playing the wrong sort of something.

  27. 52
    punctum on 4 Jul 2013 #

    That reminds me, I’m supposed to be writing a book on this very subject (not pop stars jumping ship but the strangely logical anti-nexus of Brit blues boom, free jazz and psychedelia).

  28. 53

    Clapton is a 6 on the Pete Frame Valency Index, beating John Mayall, Mick Taylor and John Wetton, who are all 5s. (I took literally 20 seconds to “research” this, so the reported data may be shakier than the underlying science.)

    PFVI = the number of different pages/family trees a family member appears on

    That book sounds awesome, punctum!

  29. 54
    Rory on 4 Jul 2013 #

    No worries, Tom – it’s been great to see the flurry of activity around here lately. I feel all Popular-ly reinvigorated. If I can get O2 in Shetland I’ll try and post a comment from my phone.

    Mind you, my comment on it is only a few paragraphs long… the other recent threads used up some of what I might have said.

    By the way, it’s a 4 for “Never Forget” from me. Take that, Take That!

  30. 55
    swanstep on 5 Jul 2013 #

    @46, Lonepilgrim. Arthur Sullivan spent most of the 1880s trying to ditch Gilbert and Comic Opera (esp. after being knighted for his more hifalutin’ stuff). A right Gabriel, Sylvian, Albarn he was.

  31. 56
    AMZ1981 on 6 Jul 2013 #

    Never Forget was the third (and final) single from the Nobody Else album and the only one to be released (albeit it remixed form) after the album’s release. Nobody Else, with the exception of two songs (Back For Good and an oddly haunting acoustic piece sung by Mark Owen) is an album of two halves. One half is of `Sures`, soul influenced upbeat numbers that have dated hideously and a second half of `Never Forgets`; ridiculous earnest Gary Barlow solo numbers aimed at proving he was a serious artist – the title track is exceptionally hideous. In the CD booklet Barlow has a full page photograph while the rest of the band get quarter of a page each. Given that it was Mark and Robbie the girls still wanted this is telling – Nobody Else is virtually a solo album.

    There was a script here. Gary Barlow was set to `do a George Michael` and outgrow his pop roots to become a solo superstar. Except – it all went wrong. The first mistake was that the other four Take Thatters were not Andrew Ridgely; Orange and Donald were relatively disposable but Mark Owen was the pin up and Williams the best voice.

    The second mistake, which Barlow’s camp could not have forseen but which they reacted to badly, was that the musical scene was changing. Gary Barlow had a seat marked at the same table as Elton John, Phil Collins and Sting and the rock world would shortly reject these dinosaurs for a new breed of Gallaghers, Albarns and Cockers. At the same time (as this blog will soon show) the world of pop moved away from earnest hearthrobs like Barlow to brazen, tabloid baiting superstars (it’s pretty obvious which girl band I have in mind here). It’s worth noting that Robbie Williams would owe a lot of his subsequent success to the fact he could straddle both camps. For Gary Barlow matters would be made worse by the fact that, by the time he finally divorced his pop band and was in a position to do a George Michael, George himself had returned with what (for me anyway) was his strongest collection of songs.

    A final point, while Never Forget was at number one Boyzone spent two weeks at number three with So Good. It was not the first time Take That and Boyzone had been in the top five simultaneously, nor would it be the last.

  32. 57
    ciaran on 18 Jul 2013 #

    A kind of no more worlds to conquer feel to this.Though the signs of the end had probably begun with the success of Back For Good.

    I liked it in 95 but now its a bit of a chore to listen to outside of the chrous.It doesnt stand up as well as BFG now.

    5

  33. 58
    Erithian on 15 Sep 2013 #

    They throw a lot at this, don’t they? Including, inexplicably, Howard. Sadly the effect is to leave you listening to the straining verses and having your mind wander to how much better it might have sounded if they’d given it to Robbie, who really stands out in the bridge. But the chorus of course is mega.

    Just before this review was posted I was at the year 6 leavers’ performance at my boys’ primary school, and this was the last number. You’re right, this is where it comes into its own as a tearjerker, and not just for the parents – there were a few dabbed eyes among the children too.

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