In this episode, Chris and Chantel Nicole go track by track through "Fever", the iconic 2001 album that redefined Kylie Minogue’s global pop legacy. Featuring massive hits like “Can’t Get You Out of My Head,” “Love at First Sight,” and “In Your Eyes,” this sleek electro-pop era became one of Kylie’s most beloved and most successful projects to date.We break down the production, vocals, lyrics, and visuals, and ask: is "Fever" truly pop perfection? Or is it carried by just a few standout singles?Whether you're a longtime Kylie fan or discovering this era for the first time, we’ve got all the thoughts.
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- 0:00 - Intro
- 1:20 - "Fever" Album Info
- 2:50 - Album Cover
- 4:49 - "More More More"
- 8:16 - "Love At First Sight"
- 19:43 - "Can't Get You Out Of My Head"
- 29:11 - "Fever"
- 33:52 - "Give It To Me"
- 37:29 - "Fragile"
- 40:13 - "Come Into My World"
- 48:25 - "In Your Eyes"
- 54:55 - "Dancefloor"
- 58:06 - "Love Affair"
- 1:01:33 - "Your Love"
- 1:06:19 - "Burning Up"
- 1:11:04 - Cut or Keep
- 1:13:03 - Overall Thoughts & Final Rating
References:
- “Love At First Sight” MV https://youtu.be/wf421JsG004?si=Ma6MMvm4GQ6HkwUE
- “Love At First Sight” Live at MTV 2002 https://youtu.be/icd-Io0H-mI?si=ky9rPO8tfPkKzkI-
- “Can’t Get You Out Of My Head” MV https://youtu.be/c18441Eh_WE?si=CCk7xRRYa63Ze4m8
- “Can’t Get You Out Of My Head” Live at the Brit Awards 2002 https://youtu.be/Ysn_Lad-zsg?si=gU9Ao1L8666f837S
- “Can’t Get You Out Of My Head” Live at On A Night Like This Tour https://www.youtube.com/watch?v=HxyZC89p3bE&pp=ygUna3lsaWUgY2FuJ3QgZ2V0IHlvdSBvdXQgb2YgbXkgaGVhZCAyMDAx
- “Fever” Live at An Audience With… https://youtu.be/KgS5TrPuFPs?si=TlOGwEiU15gXDy_g
- “Come Into My World” MV https://youtu.be/63vqob-MljQ?si=BzEQlws5oGpYe83t
- “Come Into My World” Live at Fever Tour https://youtu.be/g90scy9SPfI?si=3LgxOje0wZvCkIMk
- “Come Into My World” Live at Showgirl Tour https://youtu.be/-4M5e_jTctk?si=RstOijGRKrGK_KLH
- “In Your Eyes” MV https://youtu.be/OjETibEMbJY?si=J7mbbSs5rhebcyxw
- “In Your Eyes” Live at An Audience With… https://youtu.be/uoQz6u9dfFw?si=tLqiRCwcWvINl72P
- “Burning Up” Live on Fever Tour https://youtu.be/KuLswptP6K8?si=e6frmMB7848ktXVN
00:00:00 --> 00:00:14 Christina Aguilera's Stripped, Rihanna's Good Girl Gone Bad, and Katy Perry's Teenage Dream all have one thing in common. They all came after Kylie Minogue's biggest record ever, Fever. So let's go track by track.
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00:00:54 --> 00:01:16 For us to review Ava. Yeah, you know, me and Chris, Chris and I are rocking our attention tour merch, boy. So we are lovers here. So any commentary that comes from us is coming from a place of love. Okay. And true fandomness. I'm excited because I did not realize that this album was this album. So...
00:01:16 --> 00:01:42 Let's get into it. Oh, yes. I didn't know. I'm a new fan. So Fever is Kylie's eighth studio album, released in October 2001 internationally and February 2002 here in the US. And following the huge success of the Light Years album, Fever shot Kylie to a new level of stardom around the world. So with the sound of the album grounded in electro disco, this album became Kylie's
00:01:42 --> 00:02:11 Best-selling record ever and topped charts around the world, including the UK, Australia, and across Europe. The album also won a ton of awards, including Best Pop Release and Highest Selling Album at the 2002 Aria Music Awards and Best International Album at the 2002 Brit Awards. And our crew member Darius said that this album is number five in his ranking of Kylie's albums. So, do we agree? How does it stack up for us in Kylie's discography?
00:02:12 --> 00:02:42 Ah, what an interesting question. And guys, we have done a couple of album reviews. We've spoken to Kylie Minogue's musical director, Steve Anderson, and also producer on this album. So it's like, hey, we are in it. So I am curious to see what's going to stack up for us. We are going to give you our in-depth thoughts on the production, vocals and visuals, and of course the performances. And then drop our individual ratings. Feel free to join along. Let us know how you guys feel. But just so you know, viewer discretion is advised. Your fave will be criticized.
00:02:42 --> 00:03:00 So before we get into the songs, let's talk about the iconic album cover conceptualized by William Baker and Tony Hong with photography by Vincent Peters. And they were inspired to create something futuristic, minimalist, and icy. How do you think they did?
00:03:00 --> 00:03:26 I love that I see us really good. I'm stuck on the icy part. I see. I can't do it. So now when I think of Kylie Minogue, before I knew who she was, I knew the microphone pose wall situation. I don't know why, but I just did. And then when you showed me a lot of her work during 2020 and that funky town for the past two years later, we were watching a lot of Kylie stuff. And I was like, oh.
00:03:26 --> 00:03:51 Oh yeah, that pose. Oh yeah, the disc. Oh yeah. It was all just very iconic iconography, if you will. I love her logo is again, it is minimalist. It is very futuristic, even though she's not wearing a single thing. I think it's just the color, the tone. It's the color. It's the tone of the photo. It's just, it's great. And in the fever, just one word. What an interesting title because what kind of fever is,
00:03:51 --> 00:04:17 You know, is it a sickness? Is it infectious? Is it what is it? So I think that the title also kind of creates a conversation. Yes. Like, what does it mean? It's memorable. It's definitely memorable. And this cover is, oh, it's perfect. That pose. I mean, you see it all over, you know, the fake T-shirts that people sell on Etsy and everything. This pose, but like, you know, it's like silhouetted. Mm-hmm.
00:04:17 --> 00:04:42 You don't need anything else. You know it's Kylie. You know it is. Yeah. It's amazing. And this Kylie logo is, for me, the definitive Kylie logo. Ooh. There's been a debate. I know she changes it every album, but, like, this is the one that always comes back. You know? Yeah. I agree. And it's just that K. I don't know. It's the one I know, too. It's memorable. It looks like a sign. Like S-I-N-E. Yeah. Yeah.
00:04:42 --> 00:04:54 So yes, iconic album cover for sure. Yeah. So let's get into the album. First up is More More More, done by Liz Winston-Lee and Tommy D.
00:04:59 --> 00:05:16 And this song was originally included in the Fever tour set list, but was never actually performed. We thought about it, but we're not going to do it. As soon as you said the title of the song, I sang it. This is a disco house moment.
00:05:16 --> 00:05:42 Like if there was a 12 inch version of it somewhere, I am open to listening to it for sure. The song does not waste time. You start to, as soon as you press play on this album, I want more and more and more from you. No need to take it slow here. And I like that. Just, there's no need to really introduce who she is, what she's trying to do. It's like, here's the song. Here's what you're going to get. This is just the taste of that. And I think the song does a really good job of...
00:05:42 --> 00:06:12 playing it safe, but also being a little like, you know, I can see this on like a rooftop someplace. I can see this being played on the rooftop, you know? I want to say a bar, a lounge. It's classy, even though she's demanding something, you know? We don't know what she wants more of, but she wants a lot of it. And I love how her voice mists over the track. Now we've always said she kind of has like a little whisper, like a high pitch or floats, but I'm going to introduce a new, you know, I guess verb.
00:06:12 --> 00:06:37 For her vocals. They missed. They kind of missed over, you know? The effects on her voice, the reverb, and the pitching here and there is just right. She sounds like a pop princess entering a secret club, and I'm here for it. It's giving Studio 54 meets Y2K. It's the kind of track you expect Carrie Bradshaw to twirl to Insects in the City, and maybe Emily in Paris to pretend she's grown to. Or...
00:06:37 --> 00:06:57 Simply put, like, an outfit selection screen song. Like, you're just, like, kind of just idling. And it's just kind of playing in the back. Yeah, this song just gives me all the good feels, you know? Yeah. Yeah, you're right. It does. The album just hits the ground running for sure. Because the energy just starts immediately. But there's still room to grow. Yeah.
00:06:57 --> 00:07:14 Yeah, yeah. So that's a good start. I love the production on this one. I love how high up the hi-hat is pushed up in the mix. It's very loud. And then you got this kind of funky bass line. And yeah, Kylie, just so perfectly sultry with her vocal execution here.
00:07:14 --> 00:07:34 And yeah, the hook is simple, you know, more, more, more, but very effective. You know, the whole chorus is kind of desperate and you can, and you hear that desperation kind of grow with each chorus too. Like Kylie adds a little bit more power. There's some growl. There's some like extra, extra with each chorus that comes along, which I like. Yeah, one texture. Um...
00:07:34 --> 00:08:02 Yeah, strong start to the album. For sure, I don't skip it. There's better on the album, but strong start. I like it a lot. I do wish we got a performance of it, though, because I believe the way people know this is because it was in the tour book. You know, some tour books have the set list in it. So I think it's in that set list in the tour book, but then it never actually got in the show. Maybe just due to length or something. Maybe they just couldn't make it work, whatever they had planned for it.
00:08:02 --> 00:08:15 Yeah, that does happen. But it's interesting. I wonder what would have come of it, like some artistic choreography or not. Yeah. But yes, I give this one an eight solid start to the album. Yes, I will match you with an eight.
00:08:16 --> 00:08:45 Up next is Love at First Sight, and this was done by Kylie Minogue, Richard Biff Standard, Gillian Gallagher, Ash Howes, and Martin Harrington. And this is the third single from the album released in June 2002, peaking at number three in Australia, number two in the UK, and number 23 on the U.S. Billboard Hot 100. Y'all have no taste. No, number 23 is great. Yeah. But Hot 100's hard. It is. It's hard. Yeah. Okay. Okay. I take it back, but still, it should have been number top 10. One. Right. Right. Right.
00:08:45 --> 00:09:14 Hello. The fact it didn't make number one anywhere is crazy, but we'll continue. Keep going. Sickening. You have to warm the crowd. Okay. So the song received the nomination at the 45th Annual Grammy Awards for Best Dance Recording, and there was a special remix done by Ruff and Jam done for the American release of the song. So as you guys can hear, we have feelings about this song, and they're probably positive. So...
00:09:15 --> 00:09:45 Look, this is probably my favorite Kylie song ever. I think it is this one. Really? There's a lot to choose from, but I always go back to this one. I just think it's a perfect pop song. It just emits so much joy. It's fun to sing along to. I just never get bored of it, ever. I can say that for a lot of Kylie songs, but this one is just... Yeah. It's perfect. And yeah, the production, it's perfect. Perfect.
00:09:45 --> 00:10:12 Like Y2K disco. There's still that Eurodance element to it, but it still sounds kind of cool. You know, it's kind of twinkly, but there's a groundedness to it. Like there's baseline really leads it. So, yeah, I think they balanced the kind of Eurodance-iness of it with, you know, kind of a bit of an icier, I guess, cooler vibe. Yeah, icier. Yeah. My favorite production element, though, is the bongos. Yes!
00:10:12 --> 00:10:34 Yes, they're on every odd beat. So much fun. I love it. I love hearing that every time. So the same thing. Yeah, the rough and jam version is interesting. I remember because I was not living in the US at the time. So I didn't know that this existed until I got like the special edition that had this on it. Yeah, it's interesting listening to it back. It is more funky.
00:10:35 --> 00:10:54 So I'm not mad at them, I guess, trying to update it to fit American radio. However, it does feel a little lazy in some parts of it because it just kind of is on a loop for almost the entire thing. And it doesn't have the ride that the original version of the song does. Yeah. So, yeah. Yeah.
00:10:54 --> 00:11:20 2002. What was going on? Pop music. I feel like whatever they were trying to do, they could have just left it alone. Because pop music wasn't really influenced by, like, punk pop. It wasn't really getting hit with the hip hop. You know what I'm saying? Like, the stuff that was, like, obviously, like, complete change in sonics were obvious, right? I mean, you had, like, the Swedish pop moment going on. But...
00:11:20 --> 00:11:42 yeah i'm still kind of figuring out why the remix was needed whatever thank you i guess that means more time to listen to kylie uh but yeah this this is very euphoric it's bright it's insanely catchy and i remember being um a kid watching television and watching the video pop up on the now that's what i call music or one of those compilation album commercials and
00:11:42 --> 00:12:03 And they would scroll through it and it was like, you know, Love at First Sight by Kylie Minogue. And then she's dancing close to the camera. And that's how I remember hearing the song. Not anywhere else, really, but it was on a Complimation album. And I remember being like, oh, this is really fun. But when I got older and I listened to it, it is so cute in terms of like...
00:12:04 --> 00:12:27 Puss, baby. Like certain things happen. Oh, that's so adorable. For me, I think that's the adjective I would use to describe some of the vocal choices on the song. The song production really understands the ebb and flow. Like there's an automation for the instrument. The instrumental to fall away after the first chorus to build back up in verse two. Super effective. I mean, if you think about it.
00:12:27 --> 00:12:54 if you had a picture in your mind of what it feels like to fall in love with someone or like really like be digging someone for the first time, it's like nothing else is around you. It all goes quiet. You just see them. Or at least that's how people describe things. Right. And I can kind of agree with that. Cause you know, when you meet someone, you're like, I really like this person. Nothing else matters. And that's what it feels like. Nothing else exists. And also, like you said, shout out to the bongos. To me, it was like mildly random, like not so random.
00:12:54 --> 00:13:16 where it doesn't fit. It was just so funny. I was like, those were bongos. I never noticed that. This is a very distinct song for sure. You hear it, you know it's Kylie. The live performance when she did MTV, it wasn't bad. The remix wasn't terrible. Oh, USMTV? Yeah, USMTV. Oh, yeah, yeah. Specifically, you're right. I feel like
00:13:16 --> 00:13:36 The original version is great. The remix was bouncy, and it kind of felt like the Jackson 5 got a hold of the demo and was like, let's put the song out. It was just the funk and the stuff that was added. I was like, I don't know if I like this. Fair. Yeah, but she performs really well.
00:13:36 --> 00:13:59 You know? Yeah. And it's grown so much through the years performance-wise, too. You know? Yes. It became the concert ender. You know? Yes, there have been a few instances where she's moved it around. Like, she started the set with it for her Glastonbury show, for example. Yeah. But it's just such a good concert ender. It's just, again, it's just so happy. Yeah. Like, it just leaves you...
00:13:59 --> 00:14:29 in such a good mood once it ends yeah and then now with the you know the live arrangement where it like really builds and it kind of has rock elements in it too um the power in it is just amazing it's it's so good live yeah before we talk about the music video though i did just look up because you did say it was nominated at the 2003 grammy awards it won it did not win but i wanted to see what won and said because this obviously deserved it it was days go by by dirty vegas
00:14:29 --> 00:14:29 Thank you.
00:14:30 --> 00:14:59 I don't know what that is. You know, give me a second, because I feel like, okay, if you are watching this and you're a lover, or if you're not a lover, do you know days go by and do you feel like that song deserves it? Because what? That's insane. Oh, my gosh. This isn't like that other situation where it was Variety and it was what, like Aretha one or something? Yeah, yeah, yeah. We were like, they deserved it. And it was like Aretha Franklin. Oh, yeah. Okay. Vocally speaking. Yeah. Okay. Makes sense.
00:14:59 --> 00:15:09 Okay, I'm listening to Days Go By and I don't know this. I know this song. Do you like it more than Love at First Sight, though?
00:15:10 --> 00:15:35 Ooh, that's kind of hard. Okay, so, okay, I do know days go by. And I still, okay, I do know the song. Like, if it was like Sandstorm by Darude, I would say, hey, Kylie, hey, sorry. Unfortunately, all that tweaker music is killing it right now. Days go by. Ugh. Dang it, I know this song. Oh, no.
00:15:36 --> 00:15:55 I know it. I like it. And I'm sitting here just like, yeah, this is that tweaker stuff that would win because it's really good. Have you heard? Have you heard this before? I don't I don't know. I need to like properly listen to where we're not doing this. But right. Yeah, dude. I don't know. I'm just saying. Yeah, it's so hilarious. No, actually, you know what I mean?
00:15:55 --> 00:16:12 Well, in my mind, Kylie and Love at First Sight should definitely have won a Grammy. Sorry, Dirty Vegas. Yeah. Okay, the music video. What do you think of that? That video was so strange. Okay, so...
00:16:12 --> 00:16:39 I remember when I was a kid, again, and even now when I watch, I was like, oh my God, I remember that. The white tank top, the little bra, the little lace panty that was orange. Her just randomly walking around this Tron-esque cement freaking place. I mean, super strange, super weird. I feel like it was futuristic. That's what it was. I mean, looking at it now, it's like, what the hell? I don't get that.
00:16:39 --> 00:17:03 When you're younger or the time period when it came out, it was super futuristic. It looked like it was a touchscreen. It looked like she was coming out. It looked like you had selected an avatar and she was singing straight to you. And every so often she'd go back and see what the rest of the NPC. So it makes sense. And now I'm like, oh, there it is. I can't say I remember any of the choreography, but I remember the shoulder. Yes, that's all you need. The shoulder. Yeah, the bicep dance.
00:17:03 --> 00:17:19 tricep dance. Tricep dance. Yeah. The arm belt. Okay. But yeah, she had an armband, so not an armband, an armband on. I remember all those little moments. The contrast between that gray background and then the...
00:17:19 --> 00:17:38 Dancers costumes, super awesome, because it's like, what are these big old bright things and why are they moving so awkwardly? Are they as part of a simulation? And I think considering how the Matrix was like either I think I just come out. This is right on cue without being super copy copy.
00:17:39 --> 00:17:54 Yeah. You know, so it's cool. I think it's cool. And I think it's actually aged decently well. Like, I think if this came out now, no one would really think it was odd at all, actually. Yeah, yeah. And what she's wearing is very much what...
00:17:54 --> 00:18:21 people wear now yeah the baggy pants and stuff yeah yeah yeah i got six flags two weeks ago like yeah but i do love how she actually doesn't have to do much like she's literally just like grooving to the song um she just has to make her mark to get like go back once in a while with the dancers and stuff but i kind of like that she almost seems so removed from everything that's going on in the back like the dancers it's like what what is going on back there yeah you know um
00:18:21 --> 00:18:39 And yeah, I think all the white outline effects, you know, that's going on. It keeps the energy going as well. So yeah, I'm here for it. I think the video is very effective, actually. I think so, too. Like I said, the choreography is weird, is robotic, interpretive. Like, and the choreographer may have other famous work, but for me...
00:18:39 --> 00:18:56 It's not my favorite. I think it's going to come up a couple of times when we talk about it. So I'll just get out the way now. Yeah. I mean, you didn't love this tour. Like, you weren't into this kind of situation where I guess it was kind of like a... I guess it was like contemporary, but like alien...
00:18:56 --> 00:19:20 Dude, it started off so strong, but then they brought out the freaking airbender ball guy who was sitting there breakdancing for songs I didn't think needed breakdancing to. So, you know, if you've ever seen Bob's Burger, this guy was like, capoeira. That's what he was giving. It was just like random quick flips and stuff. So, yeah, he's right, guys. But it had a strong start.
00:19:20 --> 00:19:43 you know the out of the concert um i'm gonna talk about it later i'm gonna reference it later okay okay all right so i obviously give this a 10 if i could give it a hundred i would what is it to add an extra zero i agree i'll give you a 10 all right next up we have can't get you out of my head done by kathy dennis and rob davis
00:19:48 --> 00:20:17 This was released as the first single from the album and, of course, is Kylie's biggest hit ever, hitting number one in 40 countries and peaking at number seven on the U.S. Billboard Hot 100. And the song was nominated for and won multiple awards, including Best Pop Release and Highest Selling Single at the Aria Music Awards in 2002, Best Dance Video and Best Choreography Video at the MTV VMAs in 2002, and the Ivor Novello Award for Most Performed Work of the Year.
00:20:17 --> 00:20:42 this song is freaking huge like you cannot escape it when i tell people oh i went to go see kylie minogue or oh do you know kylie minogue they go huh who what where i don't sing padam now i know there's a class of people who sing that padam just because it won a grammy or nominated i nominated for a grammy this is her best song it's not okay
00:20:42 --> 00:21:04 when I say la la la la la la la la people go oh I know that song yeah and if they don't I look at them like okay listen you have no taste but like when they when they hear the laws they know even in k-pop when we hear taemin singing law for criminal or like the triple s girl singing law people who know kylie go kylie did it first
00:21:04 --> 00:21:32 Kylie was not the first person to say La, but she owns it at this point. She, it's, she's, it's, she, it's like the monopoly when you're on the board. It belongs to you. Um, all jokes aside though, this song, I remember hearing when I went to IK with my mom and I heard it when you enter, I heard the, la, la, la, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na
00:21:32 --> 00:22:01 I know all the words. This song is solid. And what I like about it is that even though her voice is a little bit more higher pitched and it could possibly like toe the line of being like annoying, it could. I'm not saying it is annoying, but because it can be tight and nasally sometimes, the whispering, the misting of Won't You Stay, it being sustained, the mist, okay.
00:22:01 --> 00:22:17 It is everything, because it's so airy. It's so light. It's like whipped cream. It's sweet, but not too sweet, just on the top of the production. And then it gets super creepy, like, won't you stay forever? And ever, and ever.
00:22:17 --> 00:22:46 And then the hypnotizing. La, la, la. So there's a little bit of a, like, is she cuckoo? Like, is she a little, you know, ear, a little unhinged from the door? Like, I think it's great. And, like, the dark secrets in me. The dark secrets in me, indeed. It's great. It's a great song. And I feel like, for me, this is my favorite song. Like, it's right up there for me next to, like, chocolate. Chocolate. Oh, I love chocolate. Yeah. And then, wow. I like, wow. Wow is just super, like, amazing.
00:22:46 --> 00:23:16 Like old time English gay. Like super gay and happy. Wow is gay for me. I love it so much. It's just like peak happiness. This song here. Yeah. I have another. Yes. Yeah. You know, sometimes I question some artists and their biggest songs. Right. Like for example, Spice Girls, Wannabe. Oh, yeah. That is like their worst song. Yeah. You know? They have better songs. But in this case, this song as Kylie's kind of main legacy, I guess.
00:23:16 --> 00:23:42 Yeah. It deserves it. It is so good. It's so, yeah, you used the word hypnotizing earlier. The whole song is so hypnotic. It's sleek. And yeah, there is that hint of darkness there. Like the lyrics are kind of creepy. And even in the melody, like when you hear the different versions, right? Like, for example, the Abbey Road one with all the strings. Yeah. It's like, oh, wait, this is actually kind of creepy. Kind of sick. Kind of dark. Yeah.
00:23:42 --> 00:23:59 Like she's like this infatuation has gone over the line now. You know, it's, it's, it's past, it's gotten past the point now. She needs some help. But yes, pop masterpiece for sure. The production is so good.
00:24:00 --> 00:24:26 Like as a dance track, it's impossible to not want to move a little bit when this song comes on. Yeah, totally. And then, like you said, with the kind of subtle vocal delivery as well, like the energy is just so interesting in this song. And the structure as well. It is not a typical pop song structure. There's no true verse. There's no true chorus. It's kind of everything is a hook. It's just kind of.
00:24:26 --> 00:24:55 Oh my gosh, you're so right. It's very amorphous. Yeah, yeah, yeah. Like, it doesn't even matter. Like, every single part of the song is great. Yeah. So yeah, it is really a perfect pop song. And then the music video. Oh my God. I mean, it's just ingrained in my head forever. Like, every single scene in that music video with the yellow, starting from the yellow car, you know, all the different outfits. You got the silver with the curly hair. You got the white, you know, sexy Star Wars situation. Uh-huh.
00:24:55 --> 00:25:21 um that's amazing dancers costumes with the red hood yeah it's iconic and then the choreography as well you know i did mention the vmas yes so it did win best choreography in a video do you want to know what the other nominees were though at the vmas that year who britney i'm a slave for you usher you don't have to call and mary j blige family affair
00:25:21 --> 00:25:37 Okay, let's get it. I know the dance. That's insane. That category is insane, and Kylie won that. That's amazing. If I was Wade and or Brian...
00:25:37 --> 00:26:06 I'd be like, listen, Kylie, I get it. I would have went on that stage and started, this is not, like, come on. Now watch me. Get it? That's crazy. Which you're right. When you see that white jumpsuit by Fiona Fidoran, honey, that thing is amazing. Like, nowadays, people wouldn't bat an eyelash, but that fit is scandalosa. Okay? It's scandalous. The cut in the front. The cut in the arm. The cut in the leg. She's like, sexy genie. I'm here for her. She's like,
00:26:06 --> 00:26:23 Sexy little genie. Oh, my God. But yeah, you know what? Even for all of its weird arm, you know, I don't know the dance. Do you know the dance? That was close. That was the right start. Yeah, yeah. Look at me. Look at me. Okay, okay, okay. Look at me. It's not Slave For You. No.
00:26:24 --> 00:26:45 But honey, that song is hard to beat. Maybe we should do that one day, like a VMAs pop off. Ooh, like the old VMAs? Oh, yeah, that'd be fun. That'd be more fun than the current VMAs. Oh, God, yeah. Yes. Performances as well. You mentioned the CD. Yeah. Any other performances stand out to you? Mm-hmm.
00:26:47 --> 00:27:15 oh my goodness. No, because the Brit one is really good because that's when I was like, oh my God, I know what that is. So I feel like for me, things like that stand out. And then like there's some concert performances I like, but I think just watching her performance straight through is just good because with the Brits, when she came out, she stepped up with a little cane and she's just looking in the camera. I'm like, that is a masterclass on Pop Princess. Like she...
00:27:15 --> 00:27:41 recreating the album cover her presence i was like holy crap she's magnetizing you don't have to freaking like her but you can't sit in but she can't hold the stage you know i'm saying so yeah when i watched that i was like holy shoot i want to be like that so yeah that cd situation everyone still uses that it's just perfect the best entrance of a performance maybe ever jerry with the legs
00:27:42 --> 00:28:09 That was camp. But no, Kylie. This was camp too, obviously. But this was also, you know, I don't know, just like iconic and everywhere. And she does do the Blue Monday version for the Brits as well, which I thought was cool. Yes, that's where she did. I also love watching actually the On A Night Like This tour because the song hadn't come out yet. And she's literally just like, do you guys want to hear a new song? And it's literally just her and her bassist just like...
00:28:10 --> 00:28:31 Just bop into the song. Just jiving about. With no production, like stage production, nothing's happening. And it's like, wow, it's like this song is about to become her signature hit. And like she doesn't know that. You know, it's just so interesting that she previewed this song and sets this like understated way. I just love that. That is so cute. Yeah.
00:28:31 --> 00:28:47 Yeah, I would love to do an episode like we had done with Slow a few years ago, where we just walked through all the different iterations of the song, because there have been some really cool live versions that she and Steve have done over the years. Yeah.
00:28:47 --> 00:29:12 I would love to talk about all of those in detail. So, yeah, this song, another one I just never get bored of. Yes, I agree. So, you know, not so, not so obvious. Is it not so obvious? Whatever. Wait, 10. 10. English is bad. Definitely a 10. Should be 100. But yes, 10. English is bad. 10 times 10 is 100. It's fine. We make it work. Up next is Fever. And this was done by Greg Fitzgerald and Tom Nichols.
00:29:17 --> 00:29:39 And our patron, Wren, said, Fever would have been the perfect fifth single. So, Chris, do you agree with that? How do you feel about the title track, where it finally hit that? Because every time I listen to the albums, I'm like, hang on, does she have a song called this, or do I have to look for a lyric? Like, body language. Yeah, yeah. There's an old song called Body Language. It's a lot of stuff. Read my body language. But this one was like, hey. Yes.
00:29:41 --> 00:30:07 fun i don't know if i would make it a single i need to think about that a little bit more but after the relentless energy of these last two songs this one does come at a great time because it is a bit more subtle a bit more laid back and the whole fever analogy is fun like i think it's well written yeah all the medical words it's just very cheeky you know it doesn't take itself too seriously it's quite silly but i think my favorite line is um
00:30:07 --> 00:30:35 There ain't a surgeon like you in any place in the world. So now shall I remove my clothes? I love that. I got this out the way you're the best. Yeah. Disrobe. And of course, the whispered, feel the fever. Oh, yes. I love that. I love that so much. But yeah, production-wise, yeah, it kind of keeps the sleekness that we've heard so far. But again, I think because the lyrics are a little sillier now. Yeah. It's a bit more traditional pop. Yeah.
00:30:35 --> 00:30:55 with that with just the whole kind of structure of it yes and the way they produced it and i like the way uh they did the background vocals too like it's kind of robotic but then they're still at a lot of depth there oh okay um so yeah i think this is a fun song i don't know if it could have been a single though to be honest
00:30:55 --> 00:31:17 I wouldn't say I'm particularly in love with this one. Yeah. I don't really care for the keys. The bass and the percussion are on point, but that high-pitched organ situation, I'm not in love with. However, lyrically, like you said, the cheesy medical lines, love that. I need commitment. If you're going to talk about something, you better talk about it.
00:31:17 --> 00:31:47 at length. In this essay, I'm going to explain why fever is a fever. Like, in this essay, I will. I need that from you. Some parts of this song and the chorus oddly reminds me of Gotta Tell You by Samantha Mamba. Oh. Yeah, I'm not sure if you caught it, but the bam, bam, bam, bam, bam. Something about it and the production of it, I was like, this feels very like, and I sang it over. I sang Gotta Tell You over this, and I was like, huh.
00:31:47 --> 00:32:15 Huh. So I have heard this before, but I think I liked, gotta tell you a little bit better. So I do appreciate the pop. I want to risk and say R&B-ness of it. The fever. It's giving R&B some version of it, but it's just shy of being awesome. The performances have been fun. I appreciate the commitment. Again, I live for a committed artist. Okay, so shout out to them for the...
00:32:15 --> 00:32:30 audience with performance oh my god yeah the faces the the shock the like everyone was various reaction the women were digging it though the men were like with the fudge the women were like yeah yes yes
00:32:31 --> 00:32:58 I know, it's so funny because some people are, like, dancing, and the other half is just sitting there just horrified. And it's so funny because there are random celebrities, too. Like, Boy George is there. Jenny from Atomic Kitten is loving it. And then you have Gordon Ramsay happily clapping along, too. That is a very random list of celebrities. They heard Kylie, and they're like, I'll go. I'll go. We love Kylie. Yes, but it is very funny. I also appreciate...
00:32:58 --> 00:33:20 them just going ham with the theme yeah they're like oh medical great doctors nurses stretch her bed let's go stretch on the tour i mean she still had the bed yeah but then she had like the creepy dancers with the with the giant mass yellow wigs yeah yeah creepy masks and
00:33:20 --> 00:33:49 Oh, yeah. This was the performance where I said they look like Alien versus Predator. I remember that. That's right. Yeah. With the suits. Oh, man. So do you think this could have been a single then? No, I do not. Because I think just a certain sound that it has, I'm like, it's okay. Not bad, but it's just shy of. Yeah. Yeah. So I will rate this one an eight. I give it a 7.5. That organ killed me. Okay. Okay.
00:33:50 --> 00:34:10 Next up, we have Give It To Me, done by Kylie Minogue, Steve Anderson, and Mark Picciotti. And while it's never been performed properly, the instrumental was included during Kylie's performance at the Royal Variety in 2002, Behind In Your Eyes. So, got a little moment. I will take a little feature here and there.
00:34:17 --> 00:34:32 Okay, give it to me. Now, there we go. I'm feeling something. I was hearing something. I was enjoying something. Like the stuttering, glitchy track. It kind of sounds like Kylie walked into like a...
00:34:32 --> 00:34:57 a daft punk sex session and stole like the the the phone sound and then left um from the glitchiness you got the phone ring and then there's also a slight bit of like a new jack swing ish-ness on this record and it's probably really hard to tell because it's not so in your face um but this song sounds like something that a lesser known r&b singer from the 90s would have done and i'm like i'm here for that like
00:34:57 --> 00:35:24 Like, seriously, if you are watching this right now, you better blueska do a new tab and listen to Try Me by Jasmine Guy. And I switched the lyrics. I was singing Try Me to this song. And I was like, okay. So Try Me is a little bit slower, a little bit, a lot of it slower than this. And it's going for that usual R&B groove. This one just kind of uses the drums to drive it and it isn't guided by the groove. So I feel like...
00:35:24 --> 00:35:51 I enjoy this one because it feels, you know, confident. It feels demanding. And I like the quirkiness of it. So it's not like I'm against quirk. I love a good bit of quirk, but this is done in a way where I feel like, okay, you got a telephone. Why is that there? Even during the verse, there's a moment where her voice sounds like she's on a telephone. The line moves through the rhythm that is my mind. That pre-hook is my favorite melody throughout the song. Yeah.
00:35:51 --> 00:36:17 But yeah, Kylie being demanding, I'm here for it. She's demanding a good time and she wants it a certain way. She's a power bottom. Damn it. She wants to... Oh, wow. The shock look. I'm getting hysterical. I wish you guys were watching. Hey, if you are listening on a podcast platform, subscribe. Because we're a good time. Yeah, no, this one's a fun one. It's a bit more...
00:36:18 --> 00:36:38 aggressive compared to what we've heard so far. Like, it's not a sultry. It's more powerful and just give me what I want. Right. Power, but that's nice. It's different. It's different from the other songs so far. And yeah, I like the production. I like how kind of weird it is. Like, the telephone ring synth and everything that you mentioned. Like, there's a lot of space in it.
00:36:38 --> 00:37:02 Yeah. Which I'm kind of here for. It's interesting. And it kind of, when you listen with headphones, it kind of goes left, right, up, down, kind of all over the place, which is kind of cool. I love the bridge outro situation. Because it kind of just like speeds it up and it gives it a good climax there. And yeah, the chorus, you know, it's simple, but it's fun. It's almost like a chant, actually. Yeah.
00:37:02 --> 00:37:32 Yeah, and that's why I think of that 90s R&B. I mean, when we were speaking to Steve, remember he was saying he used to be a DJ, so he was always listening to different things. So I feel like he definitely wears his influences or what he used to listen to on his sleeve. And then just when him and Kylie get together, it's like, I have an idea. Mm-hmm. You know? So I like this one. I like this one, too. What do you get? I even ate. Okay, I'll go a little higher. I'll do 8.5. Up next is Fragile by Rob Davis. Yeah.
00:37:32 --> 00:37:35 Just him.
00:37:40 --> 00:38:02 This is one of those songs that feels like it could have been written as a ballad, and then they put a dance beat behind it and turned it into more of a, you know, dance floor filler situation. My notes, too. It's nice. It's kind of angelic. It's kind of ethereal. Like, I think if we did have a visual for this, I would imagine, you know, water or clouds being involved. It just feels very, like...
00:38:03 --> 00:38:30 dreamy. Yeah. Especially in the verses. The chorus is nice too. You know, it has a nice melody too. It's pretty. I would say this one's not the most memorable on the album, but it is one of the rarer, kind of slower-ish. I guess less energy. I wouldn't say it's slow because that beat's actually still kind of high, but, or the BPM's still kind of high, but it's at least lower energy. So I think it has a place on the album.
00:38:30 --> 00:38:38 So, yeah. Yeah, I don't... Something about this just didn't connect for me. The song did have its potential. Um...
00:38:39 --> 00:39:07 The instrumental potential. The intro potential. But something fell apart as the song carried on. I do appreciate the sentiment of the song. I get butterflies, water in my eyes. The guy's got her in the feelings. And I get it. Being close to someone comes to vulnerability. She's afraid to give that up because she's fragile. I get it. I totally get it. But like you said, I feel like this is a remix of what previously existed. Yeah.
00:39:07 --> 00:39:37 Like something existed before this, and this is like the remixed version of it. The Rob Davis remix, remix, remix. It's okay. I cannot sing it back to you right now. It doesn't mean it's a bad song, but it's just one of those things where like, there's a lot of disbangers on this dang album and even on the bonus tracks. And I'm just like, I'm sorry, but I cannot give it to you the way I want to give it to you. Also listening to this song again now, because I'm going to be honest, I don't listen to this one a lot.
00:39:37 --> 00:40:05 It reminded me of Everything is Beautiful from the Aphrodite album. It has that same kind of vibe to it. But I much prefer Everything is Beautiful. So that's almost like an improved part two version of it 10 years later. Oh. Yeah. I don't know. The potential is there, see? Yeah. But I still like this one. I don't skip it when it comes on, you know? I'll give it a 7.5.
00:40:06 --> 00:40:18 Oh, you're right. I don't skip it either. But I gave it a seven, so the seven sticks. Okay. Moving on to Come Into My World, done by Kathy Dennis and Rob Davis.
00:40:23 --> 00:40:51 This was released as the fourth single from the album in October 2002. It peaked at number four in Australia, number eight in the UK, and number 91 on the US Billboard Hot 100. And it also hit the top 20 in a variety of other countries as well. And of course, the song earned Kylie her first Grammy Award ever in 2004, winning Best Dance Recording. And the song was re-recorded for the single release. So there is an album version as well.
00:40:52 --> 00:41:11 Come, come, come into my world. Okay, so I think this is my first, I think my first introduction into the song was from the Fever Tour. Oh. Right? I think when we were watching it, I don't know, I'm trying to figure out because we watched Aphrodite first.
00:41:11 --> 00:41:26 Right. And I don't think she was riding the chariot. Was she singing the song? No, the song is not an Aphrodite tour. Exactly. Okay, so it was the fever. Because I'm like, huh, which one stands out the most to me? And it's the fever tour, obviously. But only because of the iconic...
00:41:27 --> 00:41:55 by android suit. I don't know if it was Mugler that she was wearing, but the way it peels open on her bosom and it peels open on her thighs. That's a very iconic android suit. It's Metropolis, the anime, and also the suit that people say Beyonce copied for her BET Awards performance of Get Me Bodied. I think it's so funny because Beyonce's leg got stuck in there because the mechanism on the leg didn't come out. Yeah.
00:41:55 --> 00:42:20 So, musical gods are like, karma, karma, karma. I'm joking. I'm joking. I love both artists. Point is, this is one of those songs where I'm going to say her voice mists over this instrument. You think of Twilight, you think of that misty scenery over the trees. That's what her voice does with this instrumental, right? It is amazing. She sounds so, like...
00:42:21 --> 00:42:42 She sounds like she's trying to lure you in. She sounds like a siren, but she's not trying to kill you or nothing. I said that the song sounds like she's a goddess sharing her time, love energy to a lowly human. She's like, I'm offering you more immortality. Come into my world. Take these arms, these eyes that have been watching you and watching over you. You know what I'm saying?
00:42:44 --> 00:43:02 It is so unreal because she's like, come, you know? Yes. You know? So, like, if you guys have ever seen the Chappelle show when Dave was dressed as, like, Rick James and he's doing the fingers and the lights behind him, like, that's what I think of. Come with the fingers. Yeah.
00:43:02 --> 00:43:23 So yeah, I think it's very addictive. And her voice, you can mimic it very easily. So again, there's that sing-back ability. There's the catchiness of it. There's a hypnosis that comes with it. And it's not a complicated song. Take my arms, take my eyes, take my lips. They're yours. Now just come to me. It's not hard to understand.
00:43:23 --> 00:43:43 you know yeah i love the lyrics it feels very poetic yeah it's quite beautiful the way it's done and you're right it's it's sweet but also a little creepy she's crazy yeah it's a little weird um i guess that's just kathy dennis's thing maybe i don't know oh yeah kathy what's going on
00:43:43 --> 00:44:06 mentioning Kathy I did go back to listen to the original album version of this song because it has been scrubbed from streaming because if you'd stream the album they've replaced it with the single version but I used to listen to the actual CD quite a lot so I remember the album version but actually listening to the two side by side
00:44:06 --> 00:44:19 The vocal is very different, actually, and you can hear Kathy all over the album version because I think all the BGVs are Kathy, I think, or most of, at least, and I think Kylie re-recorded over those for the single. Yeah.
00:44:19 --> 00:44:40 But the actual lead vocal execution is very different too, especially in the chorus. It's more belted on the album version as opposed to the single version where it is that super breathy, almost whispered situation like the entire time. So when she sings it live, it sounds more like the original album version with the belt. But yeah.
00:44:41 --> 00:45:00 maybe not that but yes i do love this song a lot yeah again it does have that same hypnotic quality that was in some of the earlier songs um and yeah i was thinking more a wood nymph enticing you into her forest
00:45:02 --> 00:45:29 you know a wood nip's amazing yeah i love that um and yeah i think i remember not thinking that much of this song when i heard the album yeah because i did buy it like right when it came out back in the day yeah but once you get the music video and what it's become with all the newer performances and all the different versions i've grown to love this song okay well what do you think of the music video
00:45:29 --> 00:45:58 Oh, yeah. That video is trippy. That video is trippy as hell. I think that is one of my favorite videos I've seen where it just loops. It's so unreal. I would say it's seamless in terms of, like, movement. I mean, when you watch it now, you can see kind of some of the edges being really soft and blurred. But if I was watching this crap back in 2000s, I would sit there and be like, holy crap, how the hell they do that? And it's really seamless because there's a breakup. There's accidents happening.
00:45:59 --> 00:46:14 But then Kelly's in her own world. And then you notice that she's legit just circling the same situation in this Parisian city, wherever it is. And she loops. She drops the passage. Parisian? Did I say Parisian? Yeah, but the Parisian city is Paris.
00:46:20 --> 00:46:49 This is my chicken of the sea moment. I'm about to go viral. This is my chicken of the sea. It's my chicken. So that's so funny to me. Drop a comment below if you know what I'm talking about when I say chicken of the sea. So yeah, the point is she loops all around herself. And as she's multiplying, the chaos is multiplying. And I think that is the important detail. One girl is breaking up with one girl, one guy, two girls, three girls. Three guys. One poster is going up. Two posters, three posters.
00:46:49 --> 00:47:07 You know, the chaos with the accident, that got worse. I don't know if it was like three. That was that was the one that didn't multiply in numbers, just multiply in chaos. So, yeah, I think the whatever stunt doubles or buy doubles they use. Great work. Yeah. So creative. So cool. Yeah.
00:47:07 --> 00:47:33 You know, I think the area in Paris has now changed quite a lot. But there are some fans who try to find, you know, at least the light pole and stuff that she, you know, uses just to try and recreate some TikToks and stuff. But yeah, it's like, it's one of those videos where it does have just a ton of rewatchability because there's just so much going on in it. Right. And I think, you know, the first three videos from this era were all very, you know, that whole futuristic situation.
00:47:33 --> 00:47:43 And so it was kind of refreshing, actually, to get something that was still kind of otherworldly in some way. But...
00:47:43 --> 00:48:11 a bit more grounded, like a bit more like normal. So yeah, I thought that was a cool idea. And then performance wise, of course, you know, the main change that she's made to it over the years is she has sung it as a ballad. Yes. Right. Yes, exactly. From the show world tour. Yeah. And then of course on the tension tour, we got a hybrid, right. Where it starts off with the ballad version with the one spotlight, and then it builds into the dance, the new kind of dance remix.
00:48:11 --> 00:48:23 Okay, yeah. So yeah, I've loved all the performances through the year. So yeah, I give this one a 9.5. I'll match your score. I will match the score. Because the moon!
00:48:23 --> 00:48:53 All right, moving right along with In Your Eyes. This was done by Kylie Minogue, Biff Stannert, Julian Gallagher, and Ash Howes. And this is the second single from the album released in February 2002. It hit number one in Australia, number three in the UK, and again made a huge impact all around the world. The song won Best Dance at the MTV Europe Music Awards in 2002. And this is our patron, Wren's favorite Kylie song album.
00:48:53 --> 00:49:10 Ever I don't blame you It's solid Yes I love this song This one is definitely Kind of more On the nose Disco pop Yeah
00:49:11 --> 00:49:32 Compared to, you know, a lot of what else is on the album so far. But I'm here for it. The production is so good. It's very lush. It's all very sexy. You get that. There is a Latin feel to it that also differentiates it from the rest of the album. Yeah. Love the reference of spinning around in the lyrics. Spinning around. Yeah. Yeah.
00:49:33 --> 00:49:45 And honestly, all the BGVs, the way they're layered, especially in the chorus, it keeps that hypnotic, kind of seductive quality that we were hearing in other parts of the album as well. So yeah, whoever...
00:49:45 --> 00:50:06 did the executive production of this album, did a really good job. It's a very cohesive project. Even though you have all these different producers and writers on it, I think they did a really good job with that. Yeah, it's just a great pop single. Just super fun. Yes. You know, now if you're news of the show here...
00:50:06 --> 00:50:30 Um, I've been single all my life, you know, and if you're not new here, I'm going to say this now, new or not, this song makes me want to hook up with someone in the club. It's so, it's so scandalous for you, especially. I know. You know, just kind of be dancing like, oh yeah, you know, just a little, like, you know, maybe not so slow.
00:50:31 --> 00:50:50 Maybe not so sleazy, but she was kind of like, oh, yeah. I've been watching you lately. I want to make it with you. I don't know what she wants to make, but like make love, make it last. I don't know, but she wants to make it with you. And I get it. The song is very sultry. The verse is...
00:50:51 --> 00:51:10 I love how the bass synths drive the song, and then her lower tone is what makes it feel sultry. I think we can all agree that with a voice like hers, she could lean more toward Minnie in terms of vocal production. But for whatever reason, everyone's like...
00:51:10 --> 00:51:30 sweet spot. We found it. You know? I think as she's gotten older, it's been nice to kind of hear her voice become a little bit more rounder as opposed to, like, that sharpness that it used to be. But it's nice here. This one, like you said, follows that disco formula but in the best way possible. It's so euphoric and sexy. And it does a wonderful job of not being cheesy. There's, like... There's some...
00:51:30 --> 00:52:00 percussion in there that I think are like, you know, some hand drumming situation. I know it's probably like, you know, a digital audio situation, but it sounds natural. And I love the video because she does this Kubrick stare where she kind of like drops her eyes and then looks up toward her eyebrows. And it works because it's creepy, like you said. It's like, come here. I want you. I want you so badly. And it's so interesting because like the styling was done again by Fi Doran, the one who did um...
00:52:00 --> 00:52:22 Can't get you out of my head and the outfit that she's wearing with the little the fringe with the belt and her back is out And then all of a sudden the dancers in the back look like some weird hip-hop chic. I don't know what's going on I don't know what's going on. It looks like it looks like everything everywhere at once and she's like She's was it Jobu? She's Jobu
00:52:22 --> 00:52:52 She's like, come here. I want to dance with you. And all of her little crinkers are like, they're all oddly dressed. Let's be real here. She's the most quote unquote normal dressed one. Yeah. But I love how the, I think she's wearing organza. I could be wrong. But honey, the organza flying in the wind. Her back is out. Her legs are out. That lady is tiny, but she looks like the 50 foot woman in that video. She looks like the tallest woman in the room. I don't know how she does it. I think I've mentioned this to you. She's like the size of a damn almond.
00:52:52 --> 00:53:01 surrounded by light and a giant train and she looks like the biggest person. Yeah. Yeah. That's charisma.
00:53:02 --> 00:53:26 That is, huh? Yeah. No, I think they did a great job with the music video. It's quite simple this time. You know, it's kind of just with all the screens and stuff. But I think they made the lighting, you know, really dynamic. It's a lot going on. They almost, the way they stacked the screens, it almost looks like a futuristic city. Yes. And like all the screens are malfunctioning almost. So yeah, I think it's totally effective. And yeah, some great...
00:53:26 --> 00:53:55 live performances through the years as well. This one has had more subtle changes compared to some of the other songs. But for example, I love the one on the Golden Tour that's more guitar-driven. We, of course, have the Infinite Disco version that she's used, you know, even now through the Tension Tour and in Vegas as well. And then, of course, there is the Fever Tour where you get the whole Latin breakdown and then you get Rhythm of the Night and she does some of Please Stay as well.
00:53:57 --> 00:54:23 Yeah, it's had some great performances through the years. Yeah, I think it's one of those things where it's like when it's the I think the toughest thing about having a hit song, it's like. How often can you do it and how many times can you do it until you get sick of it? Like, I think we've the most recent we've seen has been with Doja Cat's Say So. And she had to flip it, flip it, put it down and reverse it. She had to do so many different versions. Britney with Hit Me Baby, she did a jazz version. I don't like it.
00:54:23 --> 00:54:52 I can't stand it, but it's something different, you know? So even with this one, it's like, it's, everyone knows it. How much more can you change it? Right. So, or even slow with her, she's changed slow quite a bit, but that's why I feel like it's, it should stay close to the way it was. Cause we live for that. Hang your eyes. We live for that. You can't change it. So for this one, because it's perfect the way it is, I'm going to give it a perfect 10. Oh yeah, definitely a 10.
00:54:54 --> 00:55:20 Next up is Dance Floor, done by Kathy Dennis and Steve Anderson. All right. So I hear shakers. I feel the drama. There are strings. There's tension. Our favorite word. I was about to say. Baby, break the tension. Yeah.
00:55:20 --> 00:55:37 I think I'm being, I'm like starting to figure out Kathy's writing. Kathy does a really good job. I'm sitting there saying Catholic. I know this woman. I was like, oh, Miss Kathy does a good day. Oh, we're back. Miss Kathy does a really good job of,
00:55:38 --> 00:55:55 making her mark, having definitive moments that it's her. Like when I hear toxic, when I hear this, I'm like, okay, I can hear some Kathy, you know what I'm saying? Come into my world. I'm like, okay. Okay.
00:55:55 --> 00:56:24 Yeah, yeah, yeah. Certain things that she does, the vocal slides, the sighing, it just makes sense, the falsettos. She knows how to do Diva House and disco so well. And to have Kylie over this record, it fits really nicely because, like, there is a certain shrillness that, again, it can happen because of how tight some of Kylie's vocals are, depending on the note or even the word that she's singing. And then to have Kylie's more, like,
00:56:24 --> 00:56:45 soulful influenced voice tacked on top because i think if i'm not mistaken kathy was doing a lot of like r&b pop like pop but just had a little bit of a house moment um but yeah the built-in dance break was fun the track was fun i don't ever skip it i will say but i think it dims in comparison to some of the other stuff
00:56:45 --> 00:57:00 on the album. Yeah. Interesting. Yeah, I agree with you. I think it's a solid album track, but it does feel, yeah, it just doesn't stand out as much as some of the other songs on this album. But I do like it. It has a really relentless beat.
00:57:01 --> 00:57:30 And again, similar to More More More, you have the bass line and the hi-hat really kind of the most pushed up in the mix and kind of leading the whole thing. I do like the verses more than the chorus, I would say. Ooh, that's valid. I think the verses are great. They're super sassy. You do hear Kathy again here on the BGVs really loudly. And I think she balances Kylie's nasality well here. Because, you know, you were talking about her execution. She does sound more nasal in this song.
00:57:30 --> 00:57:57 Yeah, for sure. And yeah, you know, the chorus is catchy with the, you know, on the dance floor and then kind of the response to that. Yeah, it's fun. You know, it's catchy, but it's just there's so many pop songs like that. Yeah. OK, it just feels a little safe. I guess this song compared to some of the other ones on here, but it's not bad at all. I enjoy it for sure. So, yeah, I'll give it a 7.5. Oh, yeah.
00:57:59 --> 00:58:11 Yeah, I'll match you. A 7.5. I don't want to give it too low because I don't dislike it. Yeah. Yeah. Okay, up next is Love Affair. And this was done by Kylie, Biff, and Julian Gallagher.
00:58:16 --> 00:58:44 Yes. Love Affair. I really like this one. I recently actually got to hear this out in a club for the first time. Get out of here. Because after the Lisbon tour stop of the Tension tour, I went to the after party. Oh. And they played Love Affair. And it was so good. It was so good. I was like, wow, this totally goes off. You know, the production is, it's very Eurodance. Yeah.
00:58:44 --> 00:59:13 Oh. Mm-hmm. And so it has a... The chorus has a real energy to it, so it really works, like, in a club, for sure. Yes. But again, I think they did do a good job kind of not making it sound too cheesy there. Mm-hmm. I like how subtle and kind of ethereal the verses are. And again, it's like... A lot of Kylie songs, it feels like she's, like, this angel that has just come down for one day. And you have one night to...
00:59:14 --> 00:59:27 hang out with her however you want to one night only one night only exactly that's what the song is and a lot of Kylie songs give that
00:59:27 --> 00:59:53 Yeah. You know? Yeah. I respect that she's a sex symbol. Yeah. Yeah. And there are actually some really big ad libs in here, but they're so back in the mix, like in the final choruses, and they're so vocoder that you can't really hear what they actually were. So I would love to hear those just out of curiosity. Hey guys, I need you to go back 22 years in time. Find those stems. Right. Exactly. I will say, I think this song is,
00:59:53 --> 01:00:19 you could have some really fun choreography to it. So I'm a little sad this never made it onto a tour. But I do enjoy this one, and I've gotten just a resurgence of love for it since that Lisbon situation. I rekindled my old flame. Like, I rekindled things with an old flame, and I realized I loved the song. Yeah, I know what you mean. I feel like with this one...
01:00:19 --> 01:00:47 It pulses. It throbs in whatever way. I mean, she says it, if you know what I mean. She says it in the song, so I can say it too. If you know what I mean, it pulses and throbs in the production. So I think it's very sexy in that way. The guitars in this sound really cool. There is an urgency that's embodied by the track, so it feels like the stakes are high, like you said. You want all my love. And all this is giving. Yeah.
01:00:47 --> 01:01:12 my biggest qualm is that the bridge is kind of bare but it's okay yeah you know like things like that like my my my complaint on the show will always be a bridge and if you're gonna have one either have it be like really like oh you took me someplace or just have it be solid but this one was just kind of like throwing some words in there words now gonna say something else all right
01:01:12 --> 01:01:38 Bring the chorus back around. Yeah. It's just like, come on. Give me more. Give me more. More, more, more. See, I'm already here. I'm in the soundscape of this album. So I wanted more. So for me, it gets an 8. Okay, I will go 8.5. Now we have Your Love, done by Kylie Minogue, Pascal Gabriel, and Paul Statham.
01:01:43 --> 01:02:10 And apparently, this song was considered to be the fourth single from the album, but they ultimately went with Come Into My World. And our crew member, Darius, said, I love the sophistication, smoothness, and lushness of your love, and it could have definitely been a U.S. single or a radio hit in the U.S. Do you agree? You know, interestingly enough, after having met Darius in our CCTV Live this month,
01:02:11 --> 01:02:29 on Patreon, Patreon exclusive. Sorry, y'all. You got him. You want to talk to us and have a hangout? We're there. But yeah, after having meet him, I realized that we have like similar like sense of humor and like senses of like taste. And I think I kind of agree. I feel like for me when I'm listening to it, I don't,
01:02:30 --> 01:02:49 I think it resonates with me in a way where I think of a dance class, right? Like, this one is a song that I would play for a warm-up in a dance class, like, across the floor. It's dreamy. It's tender. It feels like a soft focus come down at, like, you know, like, sunrise, even. Like, it's giving...
01:02:49 --> 01:03:11 Like, think of Santa Monica chill. Like, you're at the beach. You're, like, having a moment of rooftop party. Or maybe in New York having a rooftop party. It's more that than Ibiza Club. And I think we've gotten a lot of Ibiza. A lot Ibiza. We got a lot of that going on. So I feel like this is chill rooftop vibe. There is a little bit of a Latin sound in a way. I'm trying to figure out what... I think of...
01:03:11 --> 01:03:39 Waiting for Tonight, light. Just very light version. Not copied, not regurgitated, but if I had to say, hey, how would this work in the U.S. market? If J-Lo can do it, Kylie could have done it. That's my thing. It's got just enough of that Europop feel, but it is grounded by the guitars and the easily catchy chorus. Like the guitars, something about what happens in the production doesn't go super far into like,
01:03:39 --> 01:04:01 Eurocentric pop, you know? But the way the song kind of progresses fits in line with this album, which is Euro pop, essentially. So it's kind of, it's interesting, you know? But I'm not sure if it would be a hit. Could it be released? Yes. The harmonies throughout this album make the song, like, sound super...
01:04:02 --> 01:04:25 the albums right the harmonies about the song makes the vocals sound deeper and it gives me the impression that kylie is the name of a singing group it's all mixed so well like it reminds me of ali is rock the boat where legit that whole song is her background vocals push forward and then her ad-libbing through the i was i was like great yeah i love things like that so i think that's good um yeah love it um i like this song
01:04:25 --> 01:04:53 Yeah, I like this one too. I will steal Darius's word here. Smooth. Smooth is the perfect word for this. Because the melody really glides and it's very sweet and warm. And there's not much warm on this album. A lot of it is quite icy. Which is, you know, how they describe the album cover. And so, yeah, I think it's refreshing to have something like this in here. And yeah, the guitars in the production really stand out for me here. Yeah.
01:04:53 --> 01:05:21 Kind of similar vein where there's not that many organic moments on this album either. So getting a guitar here is actually quite refreshing as well. We do get more guitar in the next song, but we'll get there. Yeah. And yeah, I love, you mentioned the bridge in the last song, but this bridge. Thank you. Very good. She sounds so vulnerable. There's like this lower harmony that's quite interesting in there too. Do I think this could have been a single?
01:05:21 --> 01:05:44 I don't know. I do think Come Into My World was the right choice. Yeah. I mean, it went to win a Grammy, so clearly. Yeah. But I can see why it was considered. I think if it was one of those things where we just want to show the variety that's on this album. Mm-hmm. This song, I think, is strong. So maybe a fifth single. Okay. Not instead of Come Into My World. No. No.
01:05:44 --> 01:06:07 Sorry. That I can't agree with. Yeah. I don't think he said that, right? No, he didn't. No, no. Just could have been a single. I don't want to crap on his opinion. But Kylie said that it was considered instead of Come Into My World. That's right. I'm so sorry. I was like, oh, my God. Wait, did we just crap on his opinions? Okay. But yes. Ooh. This rating here. Yeah.
01:06:08 --> 01:06:35 I'll give it a... I'll give it an 8.5. I actually like this one. Okay, I'll give it an 8. Not that switching. All right, last is the final track of the album, the standard edition of the album. And we do have the bonus tracks queued up for another episode. But again, it's a Patreon exclusive. But yeah, as I was saying, final track on the standard edition is Burning Up. And it was done by Tom Nichols and Greg Fitzgerald.
01:06:40 --> 01:07:08 This song was not just included on the Fever tour, but also on the showgirl Homecoming and For You, For Me tours as an interlude blended with Madonna's Vogue. And our patron, Ren, said, I love how experimental Burning Up is. I can't remember how that was perceived at the time, but actually think that would hit hard as a single now. Oh, you know. Wow. So many single contenders. Hang on. As a current, like...
01:07:08 --> 01:07:35 I think it could work, actually. Yeah. As a single now. Hell yeah. Hell yeah. Because it's kind of weird. It is weird, but I really like it. But it's memorable. Yeah. And I actually thought, you know, if Kylie had gotten to tour disco, you know, she always likes to throw in kind of a deeper cut in there, or at least a lesser known one in there. This could have, this had a potential to make a comeback, I think, on the disco tour. I'm burning up.
01:07:35 --> 01:07:51 Yeah. So yeah, I did mention guitars before. Well, now we get a full acoustic start. Yeah. And then we get electric guitars throughout the song as well. So that's kind of fun. Yes. I love the weird whistly looping sounds, though, during the verses. Because...
01:07:51 --> 01:08:18 I feel like if you just listen to this like on really low quality speakers and it started, you'd be like, okay, it's just like some weird kind of acoustic track that Kylie did. But there's like the weird whistly looping things. It's like a warning that it's about to go crazy. You know, it's like there's more to this than just the guitars. Yeah, the chorus is fun. I love the way it comes in. It's so dramatic with giant like cymbal crash. Yeah, yeah.
01:08:20 --> 01:08:39 And you don't get to hear Kylie belt very much on this album. So then to have her belting that hook throughout is, I don't know, it's just fun. It's just something different from the rest of the album. And yeah, just very memorable. Like, I love that she threw this kind of weird track at the very end.
01:08:40 --> 01:09:04 but just to kind of keep your attention you know i like a wild card okay this is a wild card um like the the way it comes in it sounds like this weird like out of place song it really does down at the disco everything stops i'm gonna solo everyone drops and i'm like some madness
01:09:05 --> 01:09:20 You know? But then the heart starts racing when I see you. And then... And it gets louder. She's actually catching on fire. I will say, a part of me wishes there was something...
01:09:20 --> 01:09:37 also going on with the melody in terms of like the burning up i feel like it's fine the way it is it's completely fine but to elevate it a little bit more and maybe just because of my current sensibilities of like oh it could be a single if it wasn't just i'm burning up i'm burning up i'm
01:09:37 --> 01:09:59 like it was like you know if she's yeah but you have all the stuff on top of it though that i feel like is is dynamic enough i see what you mean it's in my current brain like my if we could give this to like a group cat's eye if they wanted to do something beautiful chaos just we just did a review for that album y'all so definitely check that out um
01:09:59 --> 01:10:21 a K-pop group, or even Kylie now. It's just something, you know, I mean, it's fine, actually. Like I said, it's fine the way it is, but my brain is like, ooh, the wheels are turning. But that's good. If I listen to something that's already good, and I go, oh my gosh, hang on, I want to add to this, I feel like that's pretty good. That's just like the songwriter in me wanting to be involved with the song I didn't write, and I wish I did. So, yeah.
01:10:21 --> 01:10:40 But yeah, I think that it's fun. I like the whole story that she's telling. She repeats the verses throughout the song. So you're not really going to get a lot of brand new words here. But I think if I kiss you once, I'm going to kiss you twice. Like things, yeah, love that. So...
01:10:40 --> 01:11:09 Again, this song is not super complicated, but in terms of structure, it is super odd. And because of that, it is solid and odd. Because of that, I mean, I will give it a good score. It's not a nine. It's an 8.45. Yes, I also have it down as an 8.5. Okay, so there are quite a few bonus tracks from this era. Yes. So if you'd like to hear us discuss those, come over to Patreon.
01:11:10 --> 01:11:33 But for now, let's move on to our cut or keep section. So if you had to cut a song from the standard track list of this album, what would you cut and why? I would cut Fragile. Ooh, oof. Yeah. Yeah, as well as... I see why it's on the project. Yeah. I think there's a B-side that could have replaced it, should have replaced it. Uh-huh. Um, yeah. Yeah.
01:11:34 --> 01:12:02 I don't need that one. Oh, damn. I mean, I'm probably going to get verbally accosted for this. But I can't... I can't get you out of my head. That's actually really funny. No, no. You guys are not going to like it. Fever. I gave it a low score. And every time I listened to it, I'm just like, I don't know if I like that freaking organ. And it's okay. I get the whole doctor thing. I commend the commitment. But melodically...
01:12:02 --> 01:12:28 Okay. Sonically, sounds like Salantham Mumble, but must you get it better, I'm good. Mmm, interesting. So, like, here's wrong! Hate it! No, that's why we have opinions. I know. I'm sorry for it. Ren's cut is Dance Floor. Oh! I see that as well. I get it. I could also potentially replace that with another B-side as well.
01:12:29 --> 01:12:56 Oh, that's so valid. Oh, I forgot about dance. Ooh, that's bad. So, Ren's Keep is actually Fever. Oh! So you two could argue it at our next live. Oh my god, Ren, I'm so sorry. Okay, so, excluding singles. Yeah. Of course. Yeah. My Keep would be Love Affair. Oh, okay, okay. My Keep would be...
01:12:57 --> 01:13:07 Your love. I really like that song. Nice. Nice, nice. Yeah, I like that one. Okay, so this is your first time listening to Fever. What do you think?
01:13:07 --> 01:13:30 I wish I wrote it. As I mentioned before, this is one of those albums where I didn't realize it was this album. And like, this is the album, you know, like it's it's almost like someone being like, oh, yeah. You know, California Girls is on a separate album from Teenage Dream, which is on a separate album from Dark Horse. And you're just like, girl, it's all the album, same album. It is? Yeah.
01:13:30 --> 01:13:53 Like, girl, where have you been? So I think for a lot of Kylie fans, it might be like, girl, where have you been? And I'll tell you, I've been in America. I've been, I've been, I think I, I don't know what I was listening to in 2000. I don't know. I was a kid. Okay. And my sister was not listening to Kylie Minogue. But yeah, no, I like this album. It's solid. I feel like it's the most cohesive we've listened to in a really long time. Um.
01:13:53 --> 01:14:20 Um, no offense to anyone, but I feel like we haven't listened to a really cohesive album. And it's interesting how, what was this, her eighth album? I mean, eight albums, Lightyear came before, Lightyear's? Excuse me, came before, right? Oh, it's tough, because I don't want to sit there and say like, oh yeah, it's crazy how new artists now can't figure out their sound. Um, but I mean, eight albums to figure it out is...
01:14:20 --> 01:14:40 She was killing it before in the 90s, and to have this happen, I think that's awesome. So I think overall this is a solid work. I don't really know what happens after this, I would say, in terms of sonic growth. And it's only because I don't know. Again, I didn't know this album was his album, so we did a review. Body language is after this. Oh, wow.
01:14:40 --> 01:14:58 See? No semblance of the order of anything, guys. Thank you, Chris. Yeah. But yeah, so again, not a bad situation. And then Bi-Language came after, and it was Impossible Princess after? Impossible Princess was before. Before this? Impossible Princess was before Light Years. Oh.
01:14:59 --> 01:15:11 Guys, as I said, I just became a fan. I do not use Wikipedia. I use us as my learning. Okay? But yeah, what we came before and what we came after was super awesome. But I think this is, like, the most, like...
01:15:12 --> 01:15:35 yeah i've been for a pop artist to have all these singles on one album like jesus christ 10 i mean hang on not 10 10 yeah for the album oh wow maybe nine i'll give it a nine no you're not to go back no because i gave i gave some stuff some like low scores you know and the puzzle process is so good
01:15:36 --> 01:15:51 Oh, it's so hard. Pop album, not experimental. None of this other bull crap. Not because I know all her other stuff, but I would say as a pop album, solid nine. Yeah. There we go. Yeah, so I actually had it as a nine as well.
01:15:51 --> 01:16:17 Yeah, definitely a solid dance pop album. Some of the tracks, again, obviously we know her whole discography. So it's like she just has so many good songs that are better than some of the songs on this album. So I cannot, like, yeah, I feel like it's hard to kind of look at this retroactively. But, you know, I was a huge fan at the time. I was like 11, you know.
01:16:17 --> 01:16:44 and bought this album the week that it came out. So there's a lot of nostalgia tied to it. And so it's hard for me to get away from that. But I do think a lot of these songs, especially the singles, are among my favorite songs ever, like by any artist. And the highs are among the highest of high in Kylie's discography as well. And I think the whole album is just quite joyful.
01:16:44 --> 01:17:08 Oh my gosh, you're so right. It's almost like with Janet's All For You. That album was just so, like... Yeah, like, it just puts me in a good mood. It's sexy and fun. Yeah. Yeah. Like, it makes me happy. And I don't get sick of it. Mm-hmm. At all. Yeah. You know? Like, I can't get you out of my head. I'll never get sick of that song. Never. Never. Never. Never. You know? Yeah. It's such a good album. And...
01:17:09 --> 01:17:33 Yeah, it's amazing what it did for her. For sure. She deserves it. She did not deserve Padamadam. Dang. Joking. Y'all can drive me all you want. I am wearing Padamadam red. Get over it. I bought it just purposely because I was like, it's red. Padamadam. So yes, all that being said, lovers.
01:17:34 --> 01:17:46 What's your favorite song on this album? What's your least favorite song? Or do you love it all? Let us know your ratings in the comments below. Okay, we had such a really good time. You can hang out with us and your fellow lovers.
01:17:47 --> 01:18:12 and the crew on Patreon. And you can also message us at CCTV Pops on all social media. Don't forget to like, subscribe, and turn on the notifications for our YouTube channel. And if you are enjoying the show on a podcast platform, please give us a follow, rating, and a review. Until next time, that's Chris. That's Chantel. And you are tuning in to CCTV, the nonstop pop show.