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"Shouldn&amp;#039;t the novelty of the Take That reunion have worn off by now? It was only fair that Gary Barlow got his recognition as a pop songwriter following his belly-flop of solo career, and of course it&amp;#039;s always sweet to see Jason, Howard and Mark grinning like little boys on Christmas morning. But we&amp;#039;ve had plenty of time to reminisce over &amp;#039;Back For Good&amp;#039; and &amp;#039;Pray&amp;#039;, dusted off the old tour T-shirts, and even let their Beautiful World LP take over our airwaves, so shouldn&amp;#039;t we all grow up a bit now and let the boys retreat to their country estates? Apparently not. The Circus, the group&amp;#039;s fifth studio album, is already breaking pre-sale records, while next summer&amp;#039;s stadium shows are defying the credit crunch and racking up ticket sales not seen since Michael Jackson was at his Moonwalking peak. Meanwhile, lead single &amp;#039;Greatest Day&amp;#039;, which has already become their eleventh number one, is the epitome of a pop &amp;quot;grower&amp;quot;, sneaking up on you after about seven listens and battering you into submission with its hearty chorus and angelic harmonies.  Gary Barlow, whose attempt to become an Elton John for the nineties briefly made him a national figure of fun, is the cunning mastermind behind this return. If &amp;#039;Patience&amp;#039; and &amp;#039;Rule The World&amp;#039; didn&amp;#039;t convince you of his songwriting genius, The Circus should finally make your mind up. Opener &amp;#039;The Garden&amp;#039; is a stunning, string-laden epic with a chorus so massive it requires a marching brass band for backing; &amp;#039;Said It All&amp;#039; is a swirling mega-ballad with a killer key change, and &amp;#039;Hold Up A Light&amp;#039;, led by Mark Owen, is a fist-pumping anthem that will require a lot of ticker tape when played live. Perhaps Barlow&amp;#039;s smartest move is to mix these brooding, Snow Patrol-with-personality moments with titbits of giddy pop. The earnestness that sank his solo career is reined in here by Mark, Jason and Howard&amp;#039;s natural instincts for fun. Between the piano-tinkling title track and so-so acoustic meandering of &amp;#039;What Is Love&amp;#039;, we get Mark&amp;#039;s cheeky &amp;#039;Up All Night&amp;#039;, which is effectively &amp;#039;Shine #2&amp;#039; and Jason&amp;#039;s barmy &amp;#039;How Did It Come To This&amp;#039;, which has lyrics about &amp;quot;OCD&amp;quot;, &amp;quot;Camden town&amp;quot; and &amp;quot;compartmentalising&amp;quot;. Take That&amp;#039;s pride in being a pop group is at the heart of what makes The Circus such a triumph. In a musical landscape where guitar bands strive for chart success and pop acts are attempting to be alternative, the innocence of the jaunty, Beatles-esque romp &amp;#039;Hello&amp;#039; and hidden salsa track &amp;#039;She Said&amp;#039; is refreshing. It may not completely destroy the belief that Take That are better at making singles than albums, but The Circus certainly stands up as one of the more impressive pop releases of the year.   "^^<http://www.w3.org/2001/XMLSchema#string>
<http://www.digitalspy.com/music/album-reviews/review/a137358/take-that-the-circus/>