Released at a time when the world wasn’t ready, "Impossible Princess" marked a bold, personal, and experimental shift for Kylie Minogue - far from the glittery pop she was known for. Critics were confused, fans were divided, but today? Many consider it her most daring and emotionally raw work.
In this episode, Chris and Chantel Nicole take a brutally honest track-by-track journey through Kylie’s so-called "indie era," breaking down the production, lyrics, vocals, and visuals that made this album such a standout in her discography.Was "Impossible Princess" truly a misunderstood masterpiece... or just misunderstood? Let’s find out.
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- 0:00 - Intro
- 1:30 - "Impossible Princess" Album Info
- 3:02 - Album Cover
- 5:24 - "Too Far"
- 11:10 - "Cowboy Style"
- 15:09 - "Some Kind Of Bliss"
- 21:15 - "Did It Again"
- 27:16 - "Breathe"
- 32:50 - "Say Hey"
- 37:54 - "Drunk"
- 41:53 - "I Don't Need Anyone"
- 45:26 - "Jump"
- 49:58 - "Limbo"
- 56:17 - "Through The Years"
- 1:00:15 - "Dreams"
- 1:06:25 - Cut or Keep
- 1:09:32 - Final Rating and Overall Thoughts
References:
- “Too Far” Live at Intimate & Live 1998 https://youtu.be/Oibak8FRB1Y?si=mkLZ5FKXzE1AIPVN“
- Too Far” Live at Showgirl Homecoming 2006 https://youtu.be/_Hp9TQByReQ?si=CMIY_zJ6jCBAA9gZ“
- Cowboy Style” MV https://www.youtube.com/watch?v=S9ytQD-xwSY“
- Cowboy Style” Live at Intimate & Live 1998 https://youtu.be/KNnDxXaSmKU?si=SI-R5fX57R1sHM_1“
- Cowboy Style” Live at Fever Tour 2002 https://youtu.be/Pfm_3fjht_o?si=csdiFQkof-foGZ2Y“
- Cowboy Style” Live at Showgirl Homecoming 2006 https://youtu.be/plBvE_EAarA?si=pCF9RF0FqKbBPmL3“
- Some Kind of Bliss” MV https://youtu.be/tdfP9c2NBYA?si=tqahPMu45SMOnoYc“
- Some Kind of Bliss” Live at Intimate & Live 1998 https://youtu.be/ZaTgBCw6WtU?si=uXqER0M8v-qr0dfx“
- Did It Again” MV https://youtu.be/tmQJ6_jOo7g?si=JNgl-DYJYKTgSCf4
- “Did It Again” Live at Top of the Pops https://youtu.be/HhRkG3s6loo?si=2wAzFC7A__bfawfs
- “Breathe” MV https://youtu.be/t5Vo-aqlP0Q?si=AFI1kuNMWc5kAi6E
- “Breathe” Live at Intimate & Live 1998 https://youtu.be/PtXtv7d0Fvc?si=LU4iD3amJx2JaqU1
- “Breathe” Live at Body Language 2003 https://youtu.be/VLk3QqQXNJg?si=cPFsB-FF4Wx3caQH
- “Say Hey” Live at Intimate & Live 1998 https://youtu.be/2Lq57pQiG7k?si=ZHMk5iGI6utVH6cF
- “Drunk” Live at Intimate & Live 1998 https://youtu.be/JUTkXbOcvhg?si=eum-pKnMH26RWOie
- “I Don’t Need Anyone” Live at Anti Tour 2012 Rehearsals https://www.youtube.com/watch?v=nZ6Z6RMEoWY
- “Limbo” Live at Intimate & Live 1998 https://youtu.be/PjfNaz7DsUc?si=dDJ44TYU0zQgXobU
- “Limbo” Live at Fever Tour 2002 https://youtu.be/_m-NEJ2YJGg?si=bXU_UEsLabZvRMZo
- “Dreams” Live at Showgirl Homecoming 2006 https://www.youtube.com/watch?v=zb6jmuYHezY
00:00:00 --> 00:00:12 You might know today's artist for her bubblegum pop or disco tracks, but what about the music from her indie era? Today we're discussing Kylie Minogue's controversial album, Impossible Princess.
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00:00:53 --> 00:01:18 Yeah, it was terrible. Requested Impossible Princess. And actually you mentioned that this is their favorite album of Kylie's. I know this is the case for a lot of fans. It wasn't as well received commercially, but it's always being referenced. It's just so important to Kylie's growth as an artist. Right, right. And just, you know, add to the diverse sounds that she's experiencing.
00:01:19 --> 00:01:29 you know, that she's done. So let's find out if we agree, if we'd like this album. Absolutely. And remember, viewer discretion is advised. Your fave will be criticized.
00:01:30 --> 00:01:50 So, Impossible Princess was released in October 1997 during Kylie's deconstruction era, also known as her indie era. And as I noted, Impossible Princess is widely regarded as a masterpiece among her fanbase and key to her growth as an artist, despite the lack of commercial success.
00:01:50 --> 00:02:20 And chart-wise, the album peaked at number 10 in the UK and number 4 in Australia upon release. And the album actually faced many delays leading up to its release due to various production issues, changes of direction. And she actually ended up releasing it under the title Kylie Minogue in the UK and Europe due to the proximity of the release date to Princess Diana's death. And Kylie co-wrote every song on the album and experimented with her sound by working with a variety of producers and writers. Wow.
00:02:20 --> 00:02:37 And though the album received mixed reviews from critics, many praised the diverse mix of styles and the introspective nature of the lyrics throughout the album. The album title, Impossible Princess, is a reference to the Billie Childish novel, Poems to the Break, The Hearts of Impossible Princesses.
00:02:37 --> 00:02:57 Kylie resonated with the title and said, sometimes my life feels so good that it's almost too much. It's like a joke. And sometimes it should be good, but it doesn't feel that way. So now we will go track by track and discuss the production, vocals, and lyrics, and give our ratings for each song. Don't forget, you guys are free to join us. So definitely leave a comment as you follow along.
00:02:57 --> 00:03:19 Yes, we'd love to hear your thoughts on all of these tracks. So first, let's talk about the album cover because it's a pretty iconic shot. And Stéphane Sednau, I apologize if I said that incorrectly, is a French photographer and producer who Kylie was in a relationship with for the majority of the album's creation. Oh, yes.
00:03:19 --> 00:03:36 He not only played a key role as the inspiration for many songs on the album, but he also shot and designed the album cover. And he took inspiration from French and Japanese pop culture, which resulted in this awesome image of Kylie sitting and surrounded by this swirl of lights.
00:03:36 --> 00:03:59 Yeah. What do you think? When I look at it, I think of the bad case of the, not the rainbow, but like you see that childhood novel or childhood book where the little girl has different colored stripes on her face. That's what I think of. I know it's really strange, but when I saw it, I just thought, oh, that's really pretty. And it stands out. I can't think of another album that has a cover like that.
00:03:59 --> 00:04:28 That's right. All that beauty surrounding her, but she seems like she's almost trapped within it. It has like a very lonely look to it because it's supposed to be beautiful, but it's not. Like much like what she said. She said, I feel like I'm supposed to be happy, but I'm not. You know, my life is supposed to be this one thing. And that's what it looks like. It looks like all the spectacle. But on the inside, she's not like, you know, she's kind of there. And she looks her hair is all like crops, too.
00:04:29 --> 00:04:58 strange but beautiful like I don't it's also it's a nice little juxtaposition I like it yeah the expression on her face is so interesting too because it's just kind of blank yes and then she's in this position that looks kind of like it's not a comfortable sitting position she's like she's not sitting back like her her butt is like up yes and she's like up on her knees and her chest is kind of pushed out like it's a very weird position to be in yeah so yeah I think it's so cool
00:04:58 --> 00:05:14 It's so cool. Actually, if you look at a lot of the pictures from this photo shoot, there's some really awesome images. Yeah, he did a good job. Yeah, did a really good job. And even the color choice as well, like this kind of like muted neon. Yes. Very interesting. Yeah. Ooh.
00:05:15 --> 00:05:36 So many things, so many things, so many theories I could come up with. Okay. Don't want to go too far with this one. So let's just hop into that first track, which is Too Far. And this was done by Kylie Minogue and Brothers in Rhythm, which is made up of Steve Anderson and Dave Seaman. Guys, we actually interviewed Steve a year ago now, right?
00:05:36 --> 00:06:04 A few years ago now. A few years ago. Oh, my gosh. So make sure you definitely check that out, guys. Make sure you check that out. So, yes. So Too Far was a song that was well-received by her fans and critics and was planned to be the final single off of this album, but ultimately only remained as a promotional single with a few remixes commissioned in most territories. It was released in the U.S. in May of 1998, and the lyrics have themes of paranoia, claustrophobia, pain, and anger.
00:06:04 --> 00:06:20 And Kylie has noted that writing the song was a release of her negative emotions. Hmm. Yeah. Oh my gosh, what a strong start to this album. Mm-hmm. From the second it starts, you get this kind of very intense...
00:06:21 --> 00:06:45 dark kind of feeling and the word claustrophobia is perfect because this whole you do get this sense of being trapped yeah kind of the entire time like the way the verses are hurriedly sung it was kind of like half-spoken like rushed way like it's not very melodic and it's not very um
00:06:45 --> 00:07:12 Like her timing is not exact either. Oh yeah. So it makes it super effective because it's like kind of creepy. There's like these horror movie synths too. And even the piano is kind of creepy too. And so you do get the sense like she's trapped in this like tiny space. Yes. And is like freaking out about it. Yeah. Essentially. And this is one of the songs I immediately think of whenever I think about this era. Yeah.
00:07:12 --> 00:07:33 Like, I think it represents it so well because it's super introspective. It's emotional. Yeah. It's kind of weird. Yeah. And it's kind of chaotic as well. Totally. Because I love how intense it is. And then in the middle, it just kind of all falls away. It's suddenly very beautiful and open and theatrical. And then it goes back to...
00:07:33 --> 00:07:48 To the kind of the trapped kind of feeling again to the kind of the final climax of her like trying to break out of whatever's going on. Yeah. So yeah, this is a highlight. I think this is one of the coolest tracks that she's ever done.
00:07:48 --> 00:08:13 Right. I agree. I feel like as a pop star, when you get into a certain point of your life, if you don't start to experiment, it's like, come on, why are you doing this? You have all this opportunity, all of this ability to explore. So why not do it? And it's so nice to be able to listen to this album and have this be the first track. I'm not a huge Bjork fan, but I am familiar with some of her bigger tracks or maybe something that sounds like this. Like her...
00:08:13 --> 00:08:39 I would say it's like her post-era production, where it's these frantic beats, frantic backbeats. You have dark, dissonant piano chords. With Kylie, it just sounds like a feverish, intense track that's reminiscent of Bjork, but it doesn't sound like it's copying too, too much, which I appreciate. The spoken word verses are so strange because, again, I'm used to...
00:08:40 --> 00:09:07 I think everyone is used to hearing melodic phrases from Kylie. So this is very different. It's distorted. The layered vocals do give that inner turmoil and anxiety. And I think because there's like a harsh industrial style beat, it makes the song sound even more unsettling. And I think it makes... I think this song is very sonically daring. You know what I'm saying? Like, oh my gosh. I feel...
00:09:07 --> 00:09:26 Like, with this one, since she wrote it herself, it feels so much more personal. But, like, considering the reaction that people got, it's like, that she got from this, it's like, I can understand why she never got this in depth. But I found an interview quote where she said that this song is, like, the most psychotic she's ever been. Yeah.
00:09:26 --> 00:09:45 And she was at the end of a relationship and she needed to scroll down all this emotions. This song is a good start to the album because it definitely sets the tone. There's nothing typical or formulaic about this. It's going to be raw and real. Yes. Yes. I can see why it wasn't released as a single. It's definitely not commercial. Yeah.
00:09:45 --> 00:10:00 No. At all. No. And it's definitely one of those that it will take a few listens to really understand it. Yeah. Because it's definitely weird. I, it took me, I needed to be much older to really understand what this was.
00:10:00 --> 00:10:30 Like I discovered Kylie, you know, I knew some of the 80s stuff just from hearing it like around. Yeah. But I didn't become a fan fan until, you know, the spinning around, you know, pop era. And so it was only when I kind of went backwards and I was so young at the time. I was like, what is this? You know? So it wasn't until I got into my 20s that I like rediscovered this album and kind of understood it a bit more. So, yeah, it's really interesting kind of going back to hear it. Yeah. Yeah.
00:10:30 --> 00:10:56 I haven't revisited the whole album like this in a long time. And I can see why fans are missing this kind of side to Kylie a little bit. Yeah. And I will say the performances of this are great as well. I love that she opened the tour with it and she did it. She recreated the album cover. And then we have the showgirl homecoming performance too with the fight choreography and stuff. Oh, so cool.
00:10:56 --> 00:11:17 With the wall of men. Yes. Which is like knocking down. So yeah. Yes. This is definitely a good one. For sure. Yes. So we're starting off strong. This is a 10 for me. Same. A big fat 10. Yes. Okay. Moving on to cowboy style. And this was also done by Kylie and Steve and Dave of Brothers in Rhythm.
00:11:17 --> 00:11:46 And this was released as a single in Australia and New Zealand only in October 1998. And it charted at number 39 on the Australian Singles Chart. And these lyrics were inspired by Kylie meeting Stefan for the first time, noting that it felt like he was the new cowboy coming into town. And the single cover features Kylie in a leather bra and a cowboy hat. And the music video is a live performance taken during a sound check for one of her intimate and live shows.
00:11:46 --> 00:12:08 Mm-hmm. Okay. We love an inspired track. This one blends some trip-hop and Middle Eastern instrumentation. There's some looping violin motif. There's some groovy percussion. I think it's interesting because the lyrics, like, they're exploring...
00:12:08 --> 00:12:33 some resilience and some self-discovery. Like, even though she's talking about someone else, they just feel even more, like, deeper than what the inspiration may have been. I think the breathiness and the intimate vocals add a sensual hypnotic quality. So I think that's nice, too, because the instrumentation of this song is very bizarre. Not bad, not bad bizarre, but it's definitely giving, like...
00:12:33 --> 00:12:56 Prince Ali. Yes. My note is also Agrabah. I say that word quite a lot throughout. I would love to talk to Steve again. I mean, when we talked about with him, it was about a steps tour. Yes. And I would love to talk to him about, you know, his work with Kylie. Because all these Brothers in Rhythm songs have this kind of Middle Eastern style.
00:12:56 --> 00:13:16 Yes Kind of thing to it So I'm just very curious I'm very curious Where that influence came from True But then this one Does have Because it's You know when you read the title It's like okay Is this a country song Yeah But it's not No It has some country elements to it But it's actually more like Irish With the way it does The violins and stuff Yeah Yeah
00:13:17 --> 00:13:31 or Celtic, I guess. Celtic. It does feel like that. You're right. Yeah. The fiddling. Yeah, exactly. Yeah. But then you mix that with like a Middle Eastern thing. Like, it's so bizarre. It's so bizarre. And then the drum gets kind of tribal. Yeah.
00:13:31 --> 00:13:55 it does and especially in the performance you have that guy with like yeah it's not a bongo but it's like a conga yes yeah yeah yeah yeah he's like on the steps like doing his thing like it's it's just great the song is crazy super into it yeah but it's fun like it's very unique it has a fun groove to it it feels joyful but there's also like a mysteriousness to it as well yes um
00:13:56 --> 00:14:20 And it makes sense. Like, she kind of says that. Like, she's frightened, but she's aroused, right? That's what she says in the bridge, which is interesting. Nasty. The music video performance, it's fun. You know, it was a highlight from that show because there's just so much going on, right? She starts at the top. She has her logo. We get the cowboy hat. We have the stairs wheel out. Yes. We get the...
00:14:20 --> 00:14:38 We get the man with the drum and we get the two shirtless cowboys. There's just like a lot going on. They're not twins. They're not twins. But I will say, I do have to shout out the Fever tour performance with the jump roping. Yes. Very fun. I remember I was watching that and I was like, huh?
00:14:39 --> 00:14:56 What? Yeah, what is this song? Had I listened to this album beforehand, I would have known, but I was not prepared. Yes. I was not prepared. Okay, so I will give it an eight. You know what? I will match you because I don't hate it, but I don't love it.
00:14:57 --> 00:15:25 Right, same. Yeah, yeah. I don't really know how I feel about it, but I don't not like it. Right! Yeah, yeah, yeah. Right, that's exactly what it is. Oh my God. All right, moving on to Some Kind of Bliss, and this was done by Kylie Minogue, Sean Moore, James Dean Bradfield, and Dave Eringa. This is the lead single from the album that was released in September 1997, peaking at number 22 in the UK and number 27 in Australia.
00:15:25 --> 00:15:51 And though Kylie wanted Limbo as the lead single, the record label ended up going with this one. And many have questioned the choice to use the track as the lead single from the album, with Kylie even saying that she had to keep telling people that the song did not represent the album and that it wasn't an indie guitar project, much like Beyonce had to do with Texas Hold'em. But here we are. The lyrics were inspired by the feeling that even if you are far away, physically...
00:15:51 --> 00:16:16 from the people you love, you have the ability to feel like they're with you. And the single cover features a black and white photo of Kylie with short, spiky, dark hair. Yes. Yeah, I'm going to be honest. This is one of the songs I tend to forget about in Kylie's discography. Yeah. I don't think it's a bad song. It's just...
00:16:17 --> 00:16:27 There are better kind of indie rock inspired songs on this album. A, that's my first point. But B, it just does feel safe.
00:16:27 --> 00:16:50 It feels like any of these girls that were there out at the time could have sung this song. It feels very typical of that kind of 90s pop rock thing. And, you know, I was reading kind of just about the making of the album. And, you know, the label did force her to kind of keep going back to make more commercial stuff. And this is such a clear...
00:16:50 --> 00:17:12 Like, how do we go from too far in cowboy style to this? Like, it's kind of a big jump here. And I think she sounds really good. You know, she has such a distinctive vocal tone. She executes it really well. But the melody itself is just kind of meh. And the production, I think it's a good pop rock production.
00:17:12 --> 00:17:28 Yeah. Like, it feels very full, and there's a lot of dynamics and instrumentation and stuff. I believe one of these writers, or some of these writers, are from the Manic Street Preachers. Oh, yes. So that makes sense. You can hear that influence, and that's cool. Uh-huh.
00:17:28 --> 00:17:54 And I like the strings in the production. That kind of makes it a little different. Yeah. But yeah, this is not a favorite of mine. Oh, I was looking for the butt. But it wasn't like a bad butt. Okay. Yeah. You know, the song is leaning more toward like the Brit pop sound and what I would think is Brit pop. Yes. With his jangly guitars. Yes. And like the chorus attempting to come across as anthemic. It definitely stands out as one of the more upbeat tracks on the album. Yeah. Yeah.
00:17:54 --> 00:18:12 it is layered with this, I guess, brighter instrumentation, but the melancholy undercurrent kind of align with the album's introspective themes. I think the thematic, oh my God, I'm having a stroke. I think that the thematic elements of the lyrics...
00:18:12 --> 00:18:37 match what's happening on this album yeah but honestly like you said it just feels like a 90s indie film soundtrack song it's okay she sounds really good in the second verse like for whatever reason i sat there listening to the song and i was like sounds good in second verse it just stood out to me she does sound good um i will say though that this song remind me of reminds me of emma's what took you so long i keep accidentally singing this
00:18:37 --> 00:19:06 Singing that. Yeah. So I'm just, and I think that song is decent. Yeah. So this song is decent as well, but I guess in the full scope of this album, not really. Yeah. But I try to treat it as its own separate entity. It's so hard. That's fair. I tried. I tried. So. Yeah. Well, what'd you think of the music video? The music video has that high saturation, high exposure. I was really popular in nineties, like music videos or like nineties films. Um, I can't think of the Evan Rachel Wood.
00:19:06 --> 00:19:32 I can't think of that movie that she was in, but it just looks like that. Not grungy, but it just looks kind of like, I don't say trashy, because last time I said trashy, we got dragged for Pardom. You know, that's how it is. You know, so I like the imagery for it. I mean, look, I think trashy is the worst word because like, it's like this whole Bonnie and Clyde, like. Yeah, it's not bad.
00:19:32 --> 00:19:58 Like, they're stealing stuff, you know what I mean? They're committing crimes. They're using the word trashy. Like, isn't that... Isn't the worst thing to do, I guess. Yeah. I think the music video is interesting, especially because of the way it was edited, right? Like, it's kind of trippy because it time jumps the entire time. And it repeats shots over and over again. Yeah. And you kind of have to wait to the very end to piece it all together. Yeah.
00:19:58 --> 00:20:27 so I think that's cool because if they just did it like a linear film it would have been very I don't know then you would have a very kind of typical story of this like Bonnie and Clyde and then she ditches him kind of situation but instead you see them arguing you see them in love you see them stealing stuff you see them like you kind of see it all happen like all concurrently and all jumbled up so that at least made it more interesting um I love her red hair
00:20:27 --> 00:20:38 Yeah, it was pretty. Yeah. But yeah, I think it's fine. Does it do anything for the song? I don't know. You know? I don't know. Hmm...
00:20:39 --> 00:21:03 I mean, I guess. Yeah. I will say I did watch quite a few performances of this song. She sounds great singing it live. She does. She does. You know? Like I said, my note second verse, she eats up. Yeah. I can see why she hasn't included it in any of her live sets, like, since the Intimate Live show. I don't know if she's ever even sung it, like, even, like, a one-off or anything. I wonder why. Yeah.
00:21:04 --> 00:21:29 But yeah, like I said, it's kind of one I forget about. I much prefer the majority of the rest of this album, so I will give it a six. I'll give it a seven. Okay. Moving on to Did It Again. And this was done by Kylie Minogue and Steve Anderson and Dave Seaman of Brothers in Rhythm. And this was inspired by the negative stories published about Kylie in the tabloids, with Kylie telling herself cheekily off...
00:21:29 --> 00:21:57 for not learning from past mistakes. And this was released as the second single from the album in November 1997, peaking at number 14 in the UK and number 15 in Australia. And the single cover features Kylie smiling with green lighting and red hair. And the music video is iconic. It features Kylie portraying different versions of herself that reflect how the media has portrayed her throughout her career so far and has them fighting each other.
00:21:57 --> 00:22:14 Yes. Oh my gosh. I know we have to talk about this song. You can talk about the video first. Oh my god, the video is so cute. I did not know about this video, but I do know that in our last review for Kylie album, it was X, and I said that I do it again
00:22:14 --> 00:22:43 And did it again. The part of speech matters, guys. This is the video that I was watching. And I was like, this is not the song that's on this album. I'm so glad we finally are talking about the song that is on the right album. And the video is super cute. Oh, my gosh. Cute Kylie was so my favorite. Like, cute Kylie is so my style. But also, my girl was getting her butt handed to her for a minute. I'm like, y'all better stop bullying my girl. She kind of won at the end. She did. Yeah, she did. Sexy Kylie was a menace. Yeah.
00:22:43 --> 00:23:01 from the beginning, she needed to get her butt handed to her for sure. Dance Kylie. I don't know what the heck she was doing. But yeah, I think it's a, I think the video is a, it's interesting because she's at, she's in a police lineup. So it's like, no matter what she does, she's always going to be seen as,
00:23:01 --> 00:23:22 a problem. Yes. Wrong. Uh-huh. You know, so she might as well just be whoever they think people think she is. Yeah. And I love that about the video. It was fun. And you can really see her personality. I mean, you have confided in me where she was looking like everyone and their mama. And here she is again, looking like everyone, not everyone, look like herself. Yeah.
00:23:22 --> 00:23:47 And how everyone else saw her. So I think she does a very good job of conveying how she feels, but keeping the sarcasm that is very present in this song. Even the single cover for this one, she looks so mischievous. Yes. Or mischievous, however you want to say it, y'all. But yeah, it's a biting, self-aware track with this grungy, distorted guitar riff. It tackles the themes of...
00:23:47 --> 00:24:11 reinventing yourself and self-criticism and also just being like you know they might be right i they might be right i might be this person but i'm not gonna change it and maybe i should i don't know um there's like a very sarcastic delivery that's layered in and the punchy production makes it so much more fun um i will say welcome to agrabah and that chorus
00:24:11 --> 00:24:37 I do wonder why the whole namaste sitar was such a thing in pop music. I really do wonder. I mean, then again, then again, let me stop. There are a lot of Arabic influences in hip-hop and R&B for a really long time. Yeah. But yeah, I think the second half of the guitar solo was fun as well. This song, overall, I feel like is a good single release, and it probably should have been the lead single. But here we are.
00:24:37 --> 00:24:58 Yes, yeah, I agree. I also had the same note. I was like, if they wanted a rockier song to be the lead single, why did they just go with this one? Yeah, and then, yeah, the whole kind of Indian influence here. I saw some reviews that people were like, oh, it's kind of Beatles-ish as well, because they had that whole moment, too.
00:24:58 --> 00:25:13 Valid, yeah, that's valid. So yeah, it makes sense that other people took that influence too, like within rock music. Yeah. Yeah, I kind of hear that. Like I could hear, you know, like Paul, you know, killing this song actually. But yeah, I love...
00:25:13 --> 00:25:32 this one. I love it. I remember the first, I forget exactly my discovery of kind of Impossible Princess, but it definitely was, it wasn't like I just bought the album and I listened to the whole thing. It was like, okay, like she sang some songs from the album at the Fever tour, so it made me listen to it.
00:25:32 --> 00:26:02 Then it was like, oh, then she released her Greatest Hits album. And I bought the Greatest Hits DVD that had every music video. So I only saw the singles first. You know, like it was kind of this thing. But I remember this music video just instantly grabbing me. Right. Because it's perfect. Like it's so funny and creative too. It is. It's such a great way just to like clap back at the media. Right. Like I can't win. I can't win here. So here's all the different versions that you want here. Yeah. You know.
00:26:02 --> 00:26:28 Yeah. But yeah, it's just so sassy. And her vocal execution is so perfectly sarcastic in it. Yeah. And the performances are great, too. She seems to be having so much fun. There's the top of the pop song where she has the drag queens dressed as the other characters. She's Indie Kylie and the rest are her other ones. I'm actually amazed she hasn't...
00:26:28 --> 00:26:51 performed this song more because she does actually reference this quite a lot i feel like in interviews and stuff like the anniversary happened relatively recently and she did an instagram post about it so interesting yeah so so i feel like it's one that that people like i mean i know like in the grand scheme of her huge discography it wasn't like the biggest hit but this is definitely one i would love
00:26:51 --> 00:27:21 to see make a little comeback. Like if anyone's near the B stage at this tour, someone please request it for this little fan request moment. Do it again! Yeah. Yes. But yeah, I love it. This is another highlight for me. On this album, I will give it a 10. Ooh, I'm going to give it a 9. Okay. Maybe a 9.5, but a 9. Okay. All right, guys. Up next, we have Breathe. And this was done by Kylie Minogue, Dave Ball, and Ingo Voek.
00:27:22 --> 00:27:47 This is the third single from the album released in March 1998, peaking at number 23 in Australia and number 14 in the UK. The lyrics were written while on a trip to Tokyo and inspired by thoughts of contemplation and holding back her emotions. And this song was actually sped up for its radio edit, and the single cover featured a slightly blurred close-up of Kylie looking up at the camera. Mmm.
00:27:47 --> 00:28:01 Yeah, it's kind of a shot from the music video. Yes. Yeah, this song has grown on me quite a lot over the years. First off, I forgot. I haven't listened to the radio edit in a long time until this review. And I forgot how much they sped it up.
00:28:02 --> 00:28:32 I'm very thrown off by it. A dog. Yeah, the album version is much better. Like, I need to radio edit. It should disappear. Kill it. I mean, and speaking of the fan requests, Kylie did do this as the fan request at the first Tension Tour show, which I love. And I've also gotten to actually hear this song live because she did it at the Intimate Golden Show that she did in New York in 2018. So I was very excited about it because this is,
00:28:32 --> 00:28:56 an awesome track to me yeah there's something so cool about it because the chorus is so simple but there's a slinkiness there's a liquidity and a smoothness the whole thing uh and it's just like it's like kind of easy listening but it's also not because it you can you can tell it's inspired by like you're kind of yeah
00:28:57 --> 00:29:23 You're going through something that's kind of a tough situation. You're trying to talk yourself through it almost. Yeah, yeah. So it's not easy listening, but it's meant to make the process easier. Yes, exactly. And I think that's cool because it's also not just a dreamy song. There is an intensity to the production as well. Like the drums are really intense. There's some electronic stuff that's quite intense in there. So it balances that all really well. Yeah, yeah.
00:29:23 --> 00:29:53 So yeah, this one is another one that has grown on me a lot over the years. What do you think? Oh, yeah. This one, for some reason, reminds me of All Saints. Not that she copied it, but in terms of like... Well, this would have been before. Yes. So in terms of what I can imagine happens in like Pure Shores or like in Black Coffee, like the weird like wonky psychedelic guitar thing. I wish I did have a little bit more knowledge about like psychedelic rock and things like that.
00:29:53 --> 00:30:20 really cool it does feel psychedelic um and there are interesting scents here and there is a stark contract to the contrast to the previous track for sure yeah it's very delicately sung it's ethereal but at the end of the day it's it's a ballad you know um i think the pulsing scents are what kind of in me go oh what's that what's that every so often um and the way she delivers her vocals make it feel so dreamlike
00:30:20 --> 00:30:37 lyrically, it does feel like a meditation or at least breath work, essentially. Yeah. Literally surrendering to the moment. Again, just going back into the introspective nature, like what makes the princess so impossible and we're trying to figure out.
00:30:37 --> 00:31:05 you know, the full story of her process. And this is part of it. This feels like it's providing insight into her thoughts for sure. Like the overall vibe is like, we're floating through space with a synth machine and some like deep, in a diary. We're just sitting there making music. I feel like, yeah, that's the vibe I'm kind of getting from this. So the floating in the music video then was what you also imagined. Yeah, I just had the floating in my mind because it feels very like,
00:31:06 --> 00:31:31 The way she was floating looked like she was in water. So kudos to them for making her look really weightless in the 90s with a music video budget. But yeah, I feel like the bareness of her body, even though she wasn't naked, it makes for almost like you're stripping away all of the external bullcrap. You know? It just felt very like...
00:31:31 --> 00:31:43 You know when you go to those retreats? Mmm. It's like you take your clothes off. Like, it's like that without the cult. The cult-ish nature. I see, I see. Yeah. She looks gorgeous. I know it's like a random thing to say, but she looks so...
00:31:43 --> 00:32:10 Oh, yeah. Yeah, the music video is pretty cool. It's like an art film almost. Yes, that's okay. That is better than what I said. Yeah, I love all the kind of the various kind of close-up shots. And then there's that moment kind of in the middle when they overlay her over herself. Yes. And it's kind of trippy. I love that. Yeah, yeah. Yeah. And then she did perform this at the Body Language Live show. And that's pretty much the only one with like choreography and kind of.
00:32:10 --> 00:32:37 real staging and stuff and she matched it up with jetem yes which was interesting uh so yeah i know she loves this song for sure uh so it's nice it kind of does show up once in a while in her shows yeah good because listen embryo kylie did not sit there and float in that nothingness to not get performed okay no fetus fetus kylie yes okay so i give this one a nine
00:32:37 --> 00:33:06 Ooh, you know what? I was a little undecided with this one, but I like it. So it's not a 10 for me. I'll match you. It's not a 10 for me, but I'll match you. I'll say nine. Yeah. Okay. Moving on to Say Hey, and this is Kylie Minogue and the Brothers in Rhythm duo. And the lyrics came to Kylie's mind one night in her bathtub when she was missing Stefan and wanted to have some feeling of communication with him, even if that wasn't a direct conversation.
00:33:08 --> 00:33:35 Yes, we had mentioned this song in our Tension 2 review. Because when Hello, when people heard Hello, people were like, oh my gosh, it's a part two to say hey. Hello, hello. That is so funny that you mention it. I think this one is very experimental. We enjoy it at this whole point. This whole album is. But this one has a very like, ooh,
00:33:35 --> 00:33:52 Okay, what is creepy little sound here? I don't know what the synth is called, but I don't know what the filter is, but it crackles, the bass in here crackles, and it has like this glitchiness to it. I love her whisper vocals on it, it's so nice.
00:33:52 --> 00:34:10 The song is a mood, and I'm not the type of person to say, oh, this is a mood, this is a vibe. But the abstract production and then the straightforward, like, I want you, I need you, feel the lyrics. It's such a nice little balance. I consider people would say, oh, this reminds me of Hello. But I feel like this one's a little bit more like...
00:34:11 --> 00:34:38 I wouldn't say desperate, but she's a little hot and bothered, it sounds like. This song just reminds me of dancing and grinding in the club. Like, you've seen those 90s movies that are kind of just, like, in the scenes going, you know? Like, it could be in Crazy White Female, where maybe the— Not Crazy White Female, Single White Female, where the roommate's staring at her from across the room or something. It could be, like, in a movie, like, in Decent Proposal or something. It could be in so many movies—
00:34:38 --> 00:35:05 I just imagine a club scene with people who are not paramours looking at each other and not being able to touch because they know that's supposed to be together. Yeah. You know, I like it. It's very sensual. It is. And I feel like the purposefulness of it is great. I'm always looking for songs that sound like chocolate to me. This one isn't there yet. Yeah. But she's creeping up on it. She's creeping up on it. She's not chocolate. Maybe she's a little...
00:35:05 --> 00:35:33 Maybe she's a little... I don't know, but she's not chocolate. The bean. Yes, the bean. The bean. Yes. And the bridge, though, of this song makes me feel like there's, like, a lullaby happening. Because the bridge of it sounds very, like, soothing. It doesn't sound, like, horndog-ish as the rest of it. Yeah. And then the latter half of the song leaves itself open for more breathy moans, like, too far. Like, too far. Yeah. She was groaning, I guess. Well, she was moaning. Let's say what it is.
00:35:33 --> 00:35:57 Yeah. This one, she's moaning and it makes sense and it fits. Mm. You know? So, yeah. Yeah, that one was moaning in, like, a despair. This one is moaning, like, in a different way. Yeah. Pleasure. Yeah, I mean, hello is more of a overt. Yeah. I need you, right? I'm here at your door. Hello. Yes. This is, this one's more, um, yeah. Just internal. Like, oh. Internal. Internal.
00:35:57 --> 00:36:20 I wish I could talk to you right now. Yeah. Wish I could communicate with you. Yeah. Yeah, I think it's awesome. I had never really noticed or thought about the water sounds in here. And now that I've read that she wrote it in her bathtub, I'm like, oh, I love that. Oh, my God. There's like these like splashing sounds every once in a while. Yeah, I love that. Yeah.
00:36:20 --> 00:36:44 Yeah, I think the whole idea of using this rave music behind it. Heck no. Yes. Yeah, this kind of techno rave situation. And then her vocals are like this haunting, breathy kind of thing. It's just very interesting juxtaposition, I think. Because the music has such a...
00:36:44 --> 00:36:55 drive to it, but then she's also singing like she is, just kind of laying back in a bathtub. Yes. And, like, very relaxed. So that just creates just, like, a really interesting...
00:36:56 --> 00:37:25 Yes. Five. Yeah, I don't know. I hate that word sometimes, but it is. Yes, me too. Yeah, so I think this one's cool. And I love that she performed it too, because I feel like just listening to the track, I'd be like, how would you make this work? Live? Make it make sense. Yeah. But I love it, you know, on the intimate live tour, she's just standing there singing her face off. Yes. And I will say the performances from that show was really, like, actually looked really good.
00:37:26 --> 00:37:41 Yes. Like, I feel like she was really coning in on, like, let me make sure I hit these notes, which I appreciate. Her vocals are so great. Yes. Her vocals are so good in the show. Yeah, yeah. Yeah. Yeah, totally, totally. So, all that together. I feel like this one is good.
00:37:41 --> 00:38:11 much, it needs a little bit more, something, something, I will give it an 8.5. I don't want to be too generous. I'm going to be like, oh, 9s and 9s. 8.5. Okay, I'll go an 8. Yes. Okay, okay. Alright, up next we have Drunk. And this was done by Kylie Minogue and Brothers in Rhythm Duo. Dave and Steve, of course. The lyrics express frustration and dissatisfaction with her relationship despite still feeling a lot of love for this person. Ah, a human
00:38:11 --> 00:38:30 Exposure Human emotion You know That's how things are Yeah I mean It's so interesting Because you know We mentioned Stefan And I believe They had broken up By the time That the album Actually came out So you kind of Do get You know We get the feeling Of her meeting him In Cowboy's Island And like Throughout this album You kind of feel The
00:38:30 --> 00:38:43 feel it kind of falling apart, which is interesting. Yeah, this is cool. It's a great kind of lead on from Say Hey, because it kind of adds to that intensity. It still has that kind of trance
00:38:44 --> 00:39:05 rave yeah style to it as well but it's way more than what say hey had like there's so many layers of synths and then you get the strings and then kylie herself also there's so many layers of of her vocals and there's lefts and there's rights and it gets very intense at times um
00:39:06 --> 00:39:28 And there's just, it really does take you on a ride, this one, because it pulls back. You know, like, when it pulls back, it's so impactful. And then, like, it kicks in and it gets kind of crazy again. And her vocal execution is so good on this. Like, you can hear that, like, frustration. Yeah. And dissatisfaction that you mentioned. Yeah. Um...
00:39:29 --> 00:39:53 Yeah, it's just we're so used to now, like with these past few albums, a very kind of clean pop vocal execution from Kylie. And when she sings live, you get more of these kinds of like different textures and stuff. So it's just refreshing hearing her do something that's less like polished, I guess. Yeah. In the studio. Yeah. I agree. That's the word. Less polished. Yeah.
00:39:54 --> 00:40:15 I think later on I mentioned how her vocals are here are like a little bit more interesting than they've been in the past. Like, yeah, were they good? Yes. But this one is like, it feels risky. I think the intro, the brass intro sounds so foreboding and intimidating. When I heard, I was like, what is going on? The song is like an emotional whirlwind. Yeah. It has all these...
00:40:16 --> 00:40:37 electronic beats and distorted vocals and layers, like you mentioned in harmonies. And, and it's interesting because it feels like thoughts and like her verbalizing those thoughts at the same time. The tracks production was so unpredictable. Oh my God. That B drop came out of nowhere for me, but it was like amazing. And it just stayed the whole time. Yes. Um,
00:40:37 --> 00:40:59 I like the line, don't take me halfway, don't take me halfway. I like that. Like, she's trying to go all the way, wherever that is. Like, I'm not happy until you take all of me. I get that. I'm that kind of person, too. Don't play with me. Play with your PlayStation. Don't play with me, baby, okay? But, yeah, I think mirroring the feeling of intoxication, both with love and loss, um...
00:40:59 --> 00:41:22 There's a bliss in being actually intoxicated, but also being in love. And then there's this weird feeling that you get with all of these emotions with the person, for the person, without the person. It's all very layered. It's all chaotic. Again, the production does bear some resemblance to Bjork. But I guess I need to start listening to Bjork because I like this one a lot.
00:41:22 --> 00:41:37 Yeah, I like this one for sure. I'm gonna be honest. This is actually one that I don't think about that much, actually. I do remember it, obviously, but it's not one that I'm always like, oh, that one, I really like that one. So this almost kind of reignited my love for it a little bit.
00:41:38 --> 00:42:06 So yeah, I get this one a nine. I think this is the song that made me go, I like this album when I texted you. Okay. So I'll give this one a 10. Hey, nice. Okay, moving on to I Don't Need Anyone. And this was done by Kylie Minogue, Nikki Wire, and James Dean Bradfield. And the lyrics were taken from a few different songs that Kylie had written, creating a piece that reflects different feelings about freedom, vulnerability, and finding someone to love herself.
00:42:06 --> 00:42:29 who you have no preconceptions about. And so these two other writers are also from Manic Street Preachers. So I believe this is from the same sessions as Some Kind of Bliss. And she did not perform it on the Intimate and Live tour, but she ended up performing it on the Auntie tour in 2012. And she did put up like an official rehearsal video of it. Oh, Auntie tour, no Rihanna.
00:42:31 --> 00:42:52 All right. So. Not that, Auntie. Okay. This one, as you've mentioned, who's written on it, another Brit pop and fuse number. Yeah. This one has a lot of bursts of energetic guitars and this carefree melody. And it reminded me of like the cardigans or Blondie, maybe. It just has like this whole like...
00:42:52 --> 00:43:20 excuse me, the instrumentation is very upbeat and it has an emotionally conflicted lyric, lyric content, lyrical content, excuse me, that really does add depth. And I think that's, it's interesting that again, the voice on this album is so consistent. I've got to just keep saying it's introspective. It's thoughtful. It's a period. It's, I mean, that's good. I don't want to sit there and get to another song on this album. Like, girl, what are you talking about right now? You know? Um,
00:43:20 --> 00:43:46 I love that Kylie has like this ability to play with the contradictions. I don't need anyone except for someone. I don't know. I love that line. I don't need anyone except for someone. I don't know. I feel, I will say that I feel like the course is a little like full week, but overall the track is bursting with confidence on the surface. But the lyrics definitely do hit at some underlying emotional uncertainty. And I like that.
00:43:46 --> 00:44:14 That there is this little bit of a tug of war. In terms of like what she wants. And what she needs. And how the overall sonic of the song. Presents itself. Yeah. I mean look. Again. If they really wanted to go with one of these Manic Street Preacher collabs. As the single. Because they were like we need like a big name. To kind of show their support for you. Or whatever. This is a better one than some kind of bliss. Sorry. It is. Yeah.
00:44:14 --> 00:44:31 Because it's interesting. It obviously has that rock bass, but it almost has like a Motown or like a Burt Bacharach kind of jazzy kind of vibe to it. Yeah. It just gives it a little, I don't know, makes it a little bit more interesting rather than just like a typical...
00:44:31 --> 00:44:54 kind of indie Britpop song. Yes. Because there's just so much going on in the production. You get flutes, you know. There's the rock drums. Like, there's just... Oh, my God, yeah. No, no, it's just more interesting. And, yeah, I enjoy the melody of it. It feels kind of anthemic, kind of fun to sing along to. Like, that rehearsal video from the Auntie tour is so cute. Yes. Of her, like, singing it with the background singers. And everyone just seems like they're having such a good time.
00:44:55 --> 00:45:14 Yes. So, yeah, I enjoy this one when it comes on. Like, I don't think it's a highlight off the album, personally. Ooh. But I won't skip it. Ooh. Points made. Yeah, points made. Yeah. So, yeah, I'll give it a 7.5. Okay. I will give it an 8, because I don't think it's like...
00:45:14 --> 00:45:42 was for a terrible on this album. Yeah. It is definitely better than the other one. But it's a good song as well, just in comparison to the other ones, maybe not. And moving right along to Jump. And this was done by Kylie Minogue and Rob Dugan. And the lyrics are about self-acceptance and wanting everyone to accept her as she is and also being ready to step into the next step of her life. Yeah, I know that feeling.
00:45:43 --> 00:46:07 Yeah, this one's cool. I love how atmospheric it is. Yeah. Like the production, again, very, very cool. I don't know much about Rob Dugan, but I was reading about the making of the album, and it was something she had heard other work of his and really wanted to work with him for this. Yeah. And yeah, it's interesting because it feels very dark. And again, Kylie's execution is so...
00:46:08 --> 00:46:18 nuanced because it's so... It's vulnerable, but again, she sounds kind of frustrated. Mm. But she's also just like...
00:46:19 --> 00:46:47 Like, she kind of sounds like she's just kind of like, I'm like, I can't even try that hard anymore. Yeah. You know? Totally. But then you get to kind of the lyrics or I guess it's the chorus that's like, and just jumping, you know, to the next thing or jumping into like the unknown kind of. And then there's like kind of a hope there too. Yeah. So yeah, just a very interesting vibe. Yeah.
00:46:47 --> 00:46:59 Again, like with this song, because there's so many different emotions in it. Yeah. And yeah, I just love how delicate she sounds. Yeah, totally. And I get it. Yeah.
00:46:59 --> 00:47:19 Yeah, this song, like, she got the song. Yeah, her album, I feel like, makes us both feel like, you know what I'm saying? You know what I'm saying? You do that? Because it's only natural to be like, do you feel what I'm feeling about how she was feeling? Because it is all so abstract. Yes. And all so experimental. This one is...
00:47:20 --> 00:47:36 also very hypnotic and almost has like a drugging kind of... I hate that word. But like something about it, it's very like... Woozy. Well, thank you. Very woozy-ing. Very like Caterpillar in Wonderland. It fuses...
00:47:36 --> 00:47:59 electronic elements, maybe a little bit of industrial music, maybe a little bit, just a little bit, and very haunting strings. I'm pretty sure it's synth keys, but they sound like strings. Love her breathy delivery. It makes everything feel intimate and almost confessional, like you're having pillow talk with someone and they're talking about death. It's like...
00:47:59 --> 00:48:22 We just, like, made love. Why are we talking about this right now? Something about it just feels like that, like you're in the bed with someone and talking about it. Ooh. And the production feels moody, like, late 90s, maybe early trip hop. And it makes me think of Madonna's, like, Bedtime Stories era. Because Madonna's Bedtime Story was, like, leaning toward R&B. Like, I didn't realize how much I would like that crap.
00:48:22 --> 00:48:45 for Madonna but then I did and I was like dang okay white lady so this one kind of that same kind of vibe yes I love the line I saw the future and jumped that is such an interesting visual like she wants to make mistakes she wants to learn she wants to be real if I'm I like the line like if I'm bad let me be it if I'm sure let me say it
00:48:45 --> 00:49:08 The lyrics, again, depict these emotions. And I'm like, I love that. So now here we are getting toward this impossible princess's discovery of her own autonomy. And it sounds like this. And it's so cool because it's like now she's questioning things, not just worrying about love. She's worrying about life now. And it's, again, it's a fun journey. And I feel like the track listing I have no complaints about yet, you know? Okay.
00:49:08 --> 00:49:23 No, I love the sequencing, actually. Yeah. Yeah. Love it. Love it. I think it's pretty perfect. Also, I just looked up Rob Dugan. Mm-hmm. And eventually, after his work on this album, he went on to produce the Matrix soundtracks.
00:49:23 --> 00:49:52 nice okay that checks out very cool that checks out that's cool very very cool wow so good for you sir good for you yes or them or y'all good for you y'all so what is your score okay so i will give it an eight i will give it a eight point five i like this one but i feel like instrumentation takes a hold like uh takes care of like it carries her a little bit too much
00:49:53 --> 00:50:19 Interesting. Yeah. Yeah, okay. That's a lot of work. Okay, moving on to Limbo. This was done by Kylie Minogue, Dave Ball, and Ingo Vock. And Kylie wrote the song in Spain when she felt trapped and was frustrated about not being able to leave the country to see who she wanted to see due to the bureaucracy laws at the time. And as we noted earlier, Kylie wanted Limbo to be the lead single from the album, but the label didn't.
00:50:19 --> 00:50:47 Did not agree. And she did perform this on the Intimate and Live tour and also was featured on the Fever tour as well. That's right. So I remember this confusing AF performance because I was sitting here like, where was this? Again, had I known this album was an album and then just jump in after like, wow. And like... You might need to rewatch the Fever tour now that you know this album because honestly the Fever tour is like half fever, but also she does so much Impossible Princess in there.
00:50:47 --> 00:51:17 Mm-mm. Missing out. Yeah, she was like, this album deserved some production in an arena. It did. She was like, I'm bringing these songs back. Yeah. Remember? Remember the freaking last dance bender, the ball guy? Oh, of course. That's what, again, he threw me off too, but now that I know this album, you're right, I might be able to appreciate the ridiculousness that was his breakdancing. You know? Yeah, and we never even watched the Kiss Me Once tour together because he comes back. Oh my God, he's out here. Yeah. He comes back.
00:51:17 --> 00:51:46 is wild. Yeah. We need to watch that. That's the last tour you need to see. Oh my god, guys. I am graduating Lovers Academy. Look at me, Aphrodite U. Except we haven't done some of the 90s ones, though. Okay. I'm not... Yeah. Okay. Post... 90s onwards we forget. Okay, so guys, guys, listen. I am going to graduate Lovers Academy to go into Aphrodite U. I'm not there yet, but we're getting there. Alright, so...
00:51:46 --> 00:52:14 Limbo is one of the most aggressive tracks on this album. Yes. When I heard, I was like, okay. Oh, geez. Okay. It explodes. All right. We got distorted guitars, manic percussion, frantic vocals. Being in a figurative purgatory can be a fate worse than hell. If you believe whatever, whatever your version of hell is, if it's you work in an office job, that's pretty, that sucks. Right. But can you imagine like not having a job? Yeah.
00:52:14 --> 00:52:35 limbo, purgatory, that crap right there will drive you mad. So at least, you know, you're making money. Like this is like, there's nothing, the nothingness of a limbo in any situation, a relationship drives you crazy. Being in traffic, that's limbo. Literally, you don't know whether you're up, you're down. Um...
00:52:35 --> 00:52:51 I like that the lyrics kind of even depict that time has no meaning. All of it is wasted. Vocally, this is the most open that she sounds. And I think this is what I was referring to when I was talking about how she was performing. Her vocals sound like she was like, I'm going to breathe my diaphragm. I'm going to belt my little face off.
00:52:51 --> 00:53:09 I'ma belt my little cute Aussie face off. And it really allows for her emotions to shine through the vocals. Because, like, she's not worried about sounding pretty. But she still sounds beautiful. Because she's not doing this restrained version of a slinky pop girl. She's doing a real indie...
00:53:09 --> 00:53:31 pop experimental version alternative pop version of herself at the end of the day so and i really do like that she took a risk with this one for sure for sure yeah i can see why kylie wanted this to be the lead single because you're right you're right it's impactful it catches your attention kind of immediately yeah
00:53:31 --> 00:54:01 I can also see from the record label point of view, I'd be like, radio is not going to play this. Girl. Like, sorry. This is a little too much here. This is a little too much. So I see it from both sides here. It is a shame, though, because you would hope that with an indie label that they would give you a bit more of that freedom. Like, that's kind of the point, right? Yeah, you would think so. Like, you're not under these restrictions that you are with a major label. But, you know,
00:54:01 --> 00:54:14 If she were to do this now, she would negotiate that she gets to choose the singles, you know? This is true. Yeah, yeah, yeah. But yeah, I love this one so much. This is one of my favorites on this album. I love the techno rock song.
00:54:14 --> 00:54:42 Yeah. Yeah, that's the word. Like, matching the two, because we've had kind of the two influences kind of separated throughout this album so far. Yes. And now we have them coming together. We got the dance and the rock together. Yeah. So I think that's really cool near the end of the album. And it really does feel like someone just spiraling. Yeah, totally. You know? Totally. Like, in my mind, if there were a music video, it'd be like someone trying to break out of a psychiatric facility or something. Mm.
00:54:42 --> 00:55:11 Or, you know, we mentioned The Matrix earlier. Oh, yeah. Okay. This could have worked for The Matrix. Yeah. Yeah. Also, I didn't note this earlier, but I still have Rob Dugan's wiki on the side. He also wrote Too Lost in You by the Sugar Babes. Oh, he produced my favorite Sugar Babes song. Your favorite song? Get the F out of here. Let's go, Rob Dugan. You gotta find him. You wanna be on the show? Yeah, we gotta find you, man. We need to talk to you. Anyway, back to Limbo. Oh.
00:55:11 --> 00:55:30 it is such a highlight for me. I think from across Kylie's discography, I think it's such a cool song. I love the Fever tour performance because she has kind of these psychedelic things going on, like individuals and stuff. And I just love that she was able to do it in
00:55:30 --> 00:55:52 a big venue like that. Yeah. It deserves its moment. Yeah. I would love for it to come back someday. Can you imagine? I would love it. In April when we go. So is it Limbo? That's my request. I'm not near the B stage though. Oh no. Oh well. It's fine. What can you do? Anyway, Limbo, I give a 10.
00:55:52 --> 00:56:04 You know, I was on the fence about giving it a high score, but only because of the chorus. Like, the limbo. I wasn't into it. I was like, okay, whatever. But... Oh, I love it. You can, like, whip to it. Yeah.
00:56:05 --> 00:56:29 And for that, I gave it an extra .5. So I gave it a 10 as well. That is so fun. You can just whip to it. Yes. All right. Whipping on over to the next track. It's Through the Years by Kylie Minogue, David Ball, and Ingo Volk. And this track is about an ex-boyfriend from years before and reflecting on how he and the relationship affected her.
00:56:29 --> 00:56:57 Oh, man. This one's an interesting one. The production's kind of slinky. Yeah. And there's kind of a groove to it. There's a trumpet, so it's kind of sexy. Yeah, yeah. And I feel like if you weren't listening to the lyrics, you wouldn't realize how... Oh, yeah, not bad. Not really dark, but the lyrics are kind of intense a little bit. Yeah, yeah. Because it's kind of like, we were together years ago, but you...
00:56:57 --> 00:57:15 this is how deeply you affected me. And I still feel these effects years later. Yeah. I still think about you. Yeah. But it's not necessarily good things. Yeah. So then, I don't know. It's interesting. Because I feel like if you just have it on in the background, it would just be, oh, this is kind of like sexy, you know.
00:57:15 --> 00:57:45 Yes, right. Then you get the lyrics and it's like, oh, never mind. There's actually like way more to this. Yeah. And I love the bridge where it gets kind of weird. Oh, yeah. And kind of hypnotic. And you get that lethargic. Yeah, you get that kind of wooziness again. I said the same thing about the bridge. In fact, I said it reminded me of Cowboy Bebop or something from a noir film. Cowboy Bebop is the show that used space and jazz and tied them both together. Yes. Want to talk about a really good soundtrack? Gosh, that one.
00:57:45 --> 00:58:09 but yeah, this song would probably fit in one of the scenes where the main character is thinking about the woman that he loved and all the bullcott that they were going through, but she left him only to come back and then get, you know, murked by the main villain of the show. Craziness. Craziness. Anyway, point is the song I think would fit in that, in those scenes of them together. But yes, this one is,
00:58:10 --> 00:58:38 We are at this delicate, down-tempo, electronic vibe. I hate using that word, but this is actually, it actually makes sense here. It does. It does, you know? There's airy synths and a strong percussion. So I think this, it creates a whole jazzy, there's a jazz influence for sure. R&B, to a certain extent, but I would say it's more jazz. Like this song, when I first heard it, I was like, is this, it's Giving Me Seven Whole Days by Toni Braxton. Um...
00:58:38 --> 00:59:06 Which is a good thing, because I love Tony. But yeah, it's just something about the whole soundscape of this one track creates this hazy red atmosphere. I'm thinking like Club, Hole in the Wall, Speakeasy, where this woman is singing about this, you know, terrible lover, or like a good lover that turned terrible. I'm not sure if you know Massive Attack at all, but this sounds like, same, I'm kind of like, kind of, sort of. Yeah.
00:59:06 --> 00:59:24 Yeah, this sounds like Angel by them, but a little bit more jazzy. The song does sound intimate. I will say the chorus is a little weak in terms of melody. Yeah. I do wonder if something else could have been explored. But yeah, I like the whole improv slam poetry session.
00:59:24 --> 00:59:53 vibe of the song. It does what it needs to do. But again, I do wonder what would have happened if a different kind of melody was explored. Yeah. That leaned more maybe into the jazz influence that is present on this track. I am curious about that. That's fair. Oh, interesting. I do love the execution of the through the years, though, like kind of like. Yeah. I mean, I can't even emulate it. It's very, very sexy. And my voice is gone, so I can't even literally. Okay, so I give this one an eight.
00:59:54 --> 01:00:09 Ooh, I'll give this one an 8.5. Okay, I think it's got to be really obvious that the ones that I like sound like something that Toni Braxton could have done. Toni Braxton meets the deaf tones. If it sounds like that, I probably will like it.
01:00:09 --> 01:00:39 Okay, so we're at the last track of the standard track listing of this album. Already? There are a few bonus tracks, though. So exclusive to our Patreon. Yes. We will be reviewing those bonus tracks. So definitely head on over to patreon.com slash CCTV pops. So you can listen to us discuss these extra tracks. Yeah. And again, you also get priority choice for our next episode. So you can help us choose which Kylie album to do next.
01:00:39 --> 01:01:06 Yes. Honestly, we have so many bonus episodes, y'all. We do. We just did X as well. So that's in there. Yeah. Juicy. Yes. Okay, so the final track on the album is Dreams. And this was done by Kylie Minogue and Dave Seaman and Steve Anderson of Brothers in Rhythm. And the lyrics are about wanting to experience everything in life, which is impossible, but nonetheless something to strive for. And she did perform it.
01:01:06 --> 01:01:10 On the Showgirl and Showgirl Homecoming tours.
01:01:10 --> 01:01:39 Yeah. Wow. This album closes with an epic cinematic track that builds from this gentle opening and then it soars into this dramatic conclusion. I love this song so much. Oh my God. All right. So the orchestral flourishes and the layered production just recall the grandeur of...
01:01:39 --> 01:02:01 a massive attack ballad. Like, I mean, it is what it is. You're right. You know, I hate making the comparison, but for some people who do not know this album or like don't know how to put a word, like a word to it or put their finger on it, this is what it is, you know? The lyrics convey a longing for something more and then it ends the album on a hopeful...
01:02:02 --> 01:02:26 yet melancholic note. Yes. You know, so it's just like, because no one knows what life is going to be, but you know you want it to be good or at least try to have it be good. And that's what this album is about. And we've kind of reached the end of the Impossible Princess's story. I mean, that's where we get the line about the dreams of the Impossible Princess. Yes. You know, so I think that's great. That's where you got the title from.
01:02:26 --> 01:02:42 I love the lyrics. Like I said, to have every man, but love only one to wake up with the moon and sleep with the sun to know a beginning, but never an end. I mean, obviously there's more contradictory lyrics and so, but I mean, is it so wrong to want it all?
01:02:43 --> 01:03:04 It's just so wrong. It's just impossible to have it all. Exactly. Oh, my God. I mean, I guess it depends on what all is. Like, this is such a philosophical song. It's so philosophical. And I really do appreciate it. This song is... Oh, God. I'm jealous. I wish I wrote it. Like, that's how good it is. You don't ever say that too often. Yeah. I wish I wrote it.
01:03:05 --> 01:03:32 Yeah, I love this song as well. I remember, I think the first few times I heard this album, this was kind of the immediate standout because I think, again, I was very young at the time, right? Like not even a teenager. Yeah. And so this one is a little bit more accessible, I think, if you're kind of just a pop fan. Because it's just, it's not, it has a more normal structure to it. Normal, quote unquote, normal structure to it. Yeah. And yeah.
01:03:33 --> 01:03:36 It's just... It's not as...
01:03:37 --> 01:04:03 I don't know. It's just not as dark as some of the other stuff. Yeah. And it's not as... It's still very poetic and introspective, but it's just a little bit more melodic, I would say. Yeah. So yeah, this was always a standout to me from the first time I heard it. And I remember the excitement of her, because obviously she had never performed it for a long time. And then she just included that one line at the end of the Thiever tour, like at the end of I Should Be So Lucky, she just sings...
01:04:03 --> 01:04:29 Like, these are the dreams of an impossible princess. And then she bows. And it is, like, so perfect. And then we finally get the full performance on the showgirl tours. Yeah. And it's just as beautiful as you'd want it to be. Because, like you said, it's so cinematic. Like, it almost feels like it could be just, like, the opening of a musical. Oof! Or something. Yeah. You know? Yeah. Yeah.
01:04:29 --> 01:04:48 Like Satine's song in Moulin Rouge or something. Yeah. Yeah, yeah. Like after, yeah, she's alone in the elephant room or whatever. Cool, that is. Like singing the song. Yeah. If there's ever a Kylie musical, like if this isn't in there, that'd be crazy. Why haven't they done that yet? You guys have all this time to make musicals for everybody else. Come on. I know.
01:04:48 --> 01:05:03 I hope so. I mean, Pete Aitken and Waterman just did their musical. I should be so lucky, which Kylie actually is in. She filmed like video pieces or whatever that are in it. Okay, fine. So maybe we're getting there. Maybe.
01:05:03 --> 01:05:32 She has a long discography. She could legit... Same thing with Prince. The discography is so immense. Come on, give it to us. I know. But yeah, it's just... Yeah, like you said, it's hopeful, but it's dark as well. And just this whole concept of the Impossible Princess, for her especially, is interesting. Because she has such an interesting career trajectory. She kind of was this bubblegum pop girl who was basically just...
01:05:32 --> 01:05:51 given these songs from these three producers, these super cheesy, like, 80s tracks. And, you know, you do get some... It did get a little, you know, more mature near the end of that kind of part of her career. But then when she did go indie, and she was able to just...
01:05:51 --> 01:06:14 just live her life a little bit more freely. And the media, like, did not take well to that, you know? Yeah, interesting. And really turned on her. So this whole idea of the Impossible Princess just has so many layers, I think, for her especially. Yeah. And, yeah, this is, I love this song so much. Yeah. It's the same. So, that being said, I gave it an 11. Yeah.
01:06:16 --> 01:06:44 I wish I could give an 11. Yes, a 10 for me as well. He's a C-pass of all your craziness. Yeah. Okay, so we're at the cut or keep section of this album. All right, guys. If you're new here, cut or keep means if we had to cut one song from this album, and if we get to keep only one song from the album, which one would it be? So that's pretty simple. Let us know what you would cut or keep from this album as well. Don't get mad.
01:06:44 --> 01:06:57 Come join us. Ooh, this is crazy. Okay. Okay. Okay. Cut. Okay, I think for me it's pretty obvious. I think mine is obvious too. I would cut some kind of bliss.
01:06:57 --> 01:07:26 For sure. God dang it. We can choose the same one. Okay. This is so funny because literally our last... We're doing a Liberty X, guys. And he and I were kind of like matched up. We're evenly yoked in our scores and our choices. So yeah, this one too. Yeah. Some Kind of Bliss is the weakest one. Yeah. Oh my gosh. Okay. If I had to choose something different, not a single though, that's kind of hard. Okay. If I had to choose not a single, I would say... Ooh. I would maybe cut...
01:07:26 --> 01:07:38 Through the years. Oh, I can see why you would... Okay, I understand that. Yeah. Mmm. Damn. Dang. Okay, honestly, I'd probably just cut... What's that thing called? Um...
01:07:40 --> 01:08:07 I don't need anyone because, again, it does not sound good. That's solid. I was thinking that one a little bit as well. No offense to those gentlemen who wrote the song, but, man. Yeah. You're like, I'm not a Manic Street Preachers fan. Not on this album. Contextually, in this album, no. Oh, God. Sorry to this man. Oh, man. Okay. What song would you keep? One song. Okay. If it was a single, I would keep Did It Again. Oh, really? Okay. But...
01:08:08 --> 01:08:37 If not, oh, this is so hard. Okay, it's between three, which I will tell you. It's between Too Far, Limbo, and Dreams. Okay. Okay. Okay. Speak one. Okay. Hang on. Let me think. For my two-ups that are cackling at you. Okay, got it. I know what I want now. You know, I think I will choose Too Far.
01:08:38 --> 01:09:06 To keep? Mm-hmm. Oh. Like I said, I think it represents this era so perfectly. And I love how odd it is. Yes. And I never get bored of it. Yeah. You know what? That's so valid. I think I can see why you picked both Dreams and Too Far. Honestly, that's the first time in a really long time that we liked both the intro and the outro track. I think it's the first time in general. Maybe. I don't know.
01:09:06 --> 01:09:36 I don't know, maybe. So, yeah, I think I'm going to keep drunk. Instead of Too Far, I'll keep drunk. Because I feel like it was another one that had that Bjork kind of feel to it. And is not as close to Too Far as Dreams is. But it could go right underneath those, I feel like. Okay, good choice. Okay, so, yeah, like I said, in terms of the overall thoughts of this album, I mean...
01:09:36 --> 01:10:04 I totally get my fans always turn to this one and kind of are. Think of it as the magnum opus of Kylie's discography. Right. I love pop Kylie. Like, you know, that's how I discovered her. And I will always, like, especially that kind of initial, like, light years fever era. You know, it's a very formative time in my life. Like, you know, you're young teens, tweens and young teens. Yeah.
01:10:04 --> 01:10:32 And so, like, I cannot say this is my favorite Kylie album. Like, that's definitely not the case. I do like disco pop Kylie. Mm-hmm. But as a fan of her, it is so awesome seeing this side to her. Mm-hmm. And I love that she did have these years to explore all of this. Yeah. And it really does add to...
01:10:32 --> 01:11:00 her artistry and why I do respect her so much as an artist. Because I think with a lot of the pop stuff now, people don't realize how amazing she is. Yes. Oh, my God. Yeah. No one ever puts her in a conversation. Yeah. And this album, yeah, it's so unique. And yeah, I'm always excited to listen to it, honestly. So, yeah, I appreciate it for kind of what it was for her, almost. Yeah.
01:11:00 --> 01:11:15 More than how I feel about it. Yeah. Oh, that's valid. I love that for you. But genuinely, I love that for you. Yeah. I think as I am listening to these albums, I probably like this a little bit more than...
01:11:15 --> 01:11:38 Dang. I like it more than the bilingual album. I like that album. I did like that album. I think I like it more than that. But I don't know if I like it more than disco, I would say. Yeah. But I do like it. I think because I heard disco like all, like that was the first listen to the full album for me. Yes. I like that one a lot. And I think it just holds a special place. But in terms of like me being an artist myself...
01:11:38 --> 01:12:08 I wish I hope I get to this point where I can sit here and take all these sonic risks and like sight all these influences. Like I hear deftones. I hear again, Bjork, I hear jazz. I hear so much on this that I think body language was also was trying to do. Cause I remember there was some weird weirdo tracks on that one too. And I feel like this articulates her curiosity for the alternative a little bit better than some of the other tracks on body language.
01:12:08 --> 01:12:32 um but yeah i mean still still still at lovers academy we're still trying to learn um but yeah i like this one sounds good i legit asked my alexa to play this song dreams hiding from your alexa guys dang it she's doing it alexa alexa stop
01:12:33 --> 01:13:02 You might as well keep this in. It's only so real. Oh, I will. Yes, it's so real. But the point is, I sat there getting my makeup ready. And guys, I listen to a bunch of K-pop or R&B or something when I'm trying to get ready. I said, put this on. The other day, I said, put Dreams on when I was doing my makeup. Dreams is not... Not a hype song. No. It's not. Yeah. It's not a freak-em-dress by Beyonce. It's not a song by Flo. You know? So, like...
01:13:03 --> 01:13:16 Shoot. It's not even spinning around. Yeah. That's right. But the point is, but the point is, this album is solid. It is her confessions. It is her blackout. It is her
01:13:17 --> 01:13:47 I guess Art Pop was her opus, but not really because she has bad better. Yeah. Hero hair. But the point is, well, speaking of Art Pop, we did do a review of that. So check that out, y'all. But yes, I think this is a really good album. Super proud of her. It sucks that she never really made something like this again. But considering how you ungrateful bitches decided to sit there, you can totally bleep this. But yeah, consider how you ungrateful bitches decided to slate her for this. I wouldn't make another album like this either. So fuck y'all.
01:13:47 --> 01:14:11 please bleep all this i mean she has said in more recent interviews because people ask her about this all the time yeah people always ask her about her indie era because people just find it interesting i think yeah and you know i think she knows there is a faction of her fan base that would love her to kind of just to just take some risks
01:14:11 --> 01:14:40 Yeah, yeah. Faction is the great word for it. It sounds like some type of like post-apocalyptic YA novel. I mean, I think she's still taken a lot of risks in her career kind of throughout. You know, like body language was a risk, right? It was, yeah. I think Bolden was a huge risk. Oh, yeah, yeah, totally. But, you know, she still stayed quite commercial. She hasn't gone as left field as Impossible Princess. Yeah. But, you know, I'm sure she still has this in her. So, you know, a random EP.
01:14:41 --> 01:15:04 You know, or something. You know, I think fans would appreciate it. The lost tapes. The lost tracks of Kylie Minogue. Let's call it Minogue. I'd be here for that. Come on now. Hello. Yeah. What's that final rating? Ooh. Oh. Almost forgot. Oh my gosh. Final rating. Ooh. I think I got mine. I think.
01:15:06 --> 01:15:22 I, it's so hard because I feel like as a project, I want to give it a 10. But because I don't actually love some of the songs on it, I don't know if I can do that. So I will just go with a 9. I wrote that down as well. Okay.
01:15:23 --> 01:15:44 I wrote a 9 down because I was like, let me make sure I got my thing. I don't want to get swayed by the thing. You can't really see it. It's like a thin pen. Yeah, I would give it a 9. I was leaning toward 8.5 because I took two songs off of this. But there are also some B-sides during this era that does not get a lot of love or they were on different country versions of the album. Yes.
01:15:44 --> 01:16:01 As we mentioned before, we are going to be talking about those B-sides and those bonus tracks. So definitely, definitely get on that Patreon, y'all. Yes. Okay. But yes, that being said, lovers, lovers, did you enjoy the game we're playing?
01:16:01 --> 01:16:28 Let us know what you guys think about this album. If this was your favorite one, if it wasn't, let us know, guys. Tell us in the comments along with other albums you would like to hear us review. And don't forget you can hang out with us and the CCTV crew on Patreon because we like to have chats on that about all things pop. And don't forget you can message us at CCTV Pops on all social media. And don't forget to like, subscribe, and turn on the notifications for our YouTube channel.
01:16:28 --> 01:16:43 That's right. All notifications, not just on all of them. And if you're enjoying the show from 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.