Background
Following the success of Barlow's debut album Open Road, expectations were high for his second solo album. However, when the album's lead single, "Stronger", a dance ballad, was released on 5 July 1999, many fans were unsure of Barlow's change in direction,[2] and the single only peaked at number 16 on the UK Singles Chart.[3] At the time, the British press had been ridiculing Barlow for not providing the media the headlines that they craved about his private life, and that his ex-bandmate, Robbie Williams, had regularly been in the papers with his erratic behaviour and party lifestyle. In an attempt to create a hype for the album, Barlow released "For All That You Want" as the album's second single, which entered and peaked at number 24 on the UK Singles Chart.[3]
Release
When the album was released on 11 October 1999 it debuted at number 35 on the UK Albums Chart, and after two weeks, fell out of the top 100.[3] It also debuted at number 19 in Ireland and number 67 in Germany before falling out of both charts the following week.[4] This was believed to be down to poor promotion and little airplay, and the fact that he had been targeted by the press and Williams, with him citing that his departure from Take That was due to Barlow. "Lie to Me" was intended to be released as the album's third single; however, after music differences and arguments between Barlow and RCA over their involvement in his long-term career, the single was cancelled. Barlow later referred to "Lie to Me" as the best song on the album.[5]
Reception
Jon O'Brien of AllMusic gave the album 3 stars out of 5 stating positively that "comeback single "Stronger" was an infectious slice of Enrique Iglesias-style Latin dance-pop, co-penned with the team behind Cher's "Believe"; [whilst] the funky "Fast Love"-esque "Wondering" shows he is capable of pulling off the George Michael uptempos as well as the heartfelt ballads; and "Walk" was a surprisingly accomplished stab at slick new jack swing-inspired R&B -- all proving that Barlow hadn't lost his ability to write infectious melodies overnight." However, he went on to say that for the album to have been a success when being "released in the midst of Robbie Williams' chart domination, Barlow needed to have recorded something with a little more substance than the watered-down pop of Open Road if he was to have any chance of competing with his virtually untouchable former bandmate, something that its lowly number 35 chart position seemed to firmly confirm he failed to do." O'Brien concluded his review positively stating that the "largely forgotten swan song to a glittering career, in the wake of Take That's triumphant revival Twelve Months, Eleven Days has witnessed something of a reassessment. And while there's nothing here that would appear on a Gary Barlow greatest-hits collection, it's certainly not the car crash that its dismal sales suggest."[6]
