Kylie Minogue’s 1994 self-titled album - often referred to by fans as KM94 - marked one of the biggest reinventions of her career. After leaving the Stock Aitken Waterman hit machine and signing with Deconstruction Records, Kylie embraced a more mature, sophisticated sound inspired by house music, trip-hop, R&B, and 90s club culture. The result was the birth of what many fans now call “Indie Kylie” or “Cool Kylie.”In this episode of CCTV: The Nonstop Pop Show, Chris and Chantel Nicole give their honest track-by-track review of "Kylie Minogue" (1994), discussing the standout songs, hidden gems, production, vocals, visuals, and how this era changed the trajectory of Kylie’s career. We also dive into the album’s legacy, its connection to "Impossible Princess", and why critics began taking Kylie seriously as an album artist during this period.Was KM94 ahead of its time? Is this secretly one of Kylie’s best albums? Join us as we revisit one of the most fascinating eras in Kylie Minogue’s discography.Join us on Patreon!: https://www.patreon.com/CCTVPOPSFollow us on social media: https://linktr.ee/cctvpops
- 0:00 - Intro
- 1:06 - "Kylie Minogue" Album Info
- 2:57 - Album Cover
- 4:37 - "Confide In Me"
- 15:12 - "Surrender"
- 20:15 - "If I Was Your Lover"
- 24:37 - "Where Is The Feeling?"
- 35:08 - "Put Yourself In My Place"
- 43:58 - "Dangerous Game"
- 52:11 - "Automatic Love"
- 56:31 - "Where Has The Love Gone"
- 1:01:03 - "Falling"
- 1:06:33 - "Time Will Pass You By"
- 1:10:43 - Cut or Keep
- 1:12:40 - Overall Thoughts & Final Rating
References:
- “Confide In Me” MV https://www.youtube.com/watch?v=PxZkjq9z5wg&pp=ygUba3lsaWUgbWlub2d1ZSBjb25maWRlIGluIG1l
- “Confide In Me” Live at Showgirl Tour 2005 https://www.youtube.com/watch?v=vqHv8UYNti4&pp=ygUba3lsaWUgbWlub2d1ZSBjb25maWRlIGluIG1l
- Jane Lancaster - “It’s A Fine Day” MV https://www.youtube.com/watch?v=4vgcYBwyw28&pp=ygUPaXQncyBhIGZpbmUgZGF5
- “Where Is The Feeling?” MV https://www.youtube.com/watch?v=bgp4SauJzms&pp=ygUia3lsaWUgbWlub2d1ZSB3aGVyZSBpcyB0aGUgZmVlbGluZw%3D%3D
- “Where Is The Feeling?” Live at Don’t Forget Your Toothbrush https://www.youtube.com/watch?v=spyr1yW4Abs&pp=ygUia3lsaWUgbWlub2d1ZSB3aGVyZSBpcyB0aGUgZmVlbGluZw%3D%3D
- “Put Yourself In My Place” MV https://www.youtube.com/watch?v=q9t6wef5xlE&pp=ygUma3lsaWUgbWlub2d1ZSBwdXQgeW91cnNlbGYgaW4gbXkgcGxhY2U%3D
- “Put Yourself In My Place” Live at the Prince’s Trust Rock Gala 1994 https://www.youtube.com/watch?v=CyWOtRFvyIc
- “Dangerous Game” Live at Intimate and Live https://www.youtube.com/watch?v=hQ87aetzGBw&pp=ygUca3lsaWUgbWlub2d1ZSBkYW5nZXJvdXMgZ2FtZQ%3D%3D
- “Automatic Love” Rapino Brothers Demo https://www.youtube.com/watch?v=QJg-WJb01S8&pp=ygUla3lsaWUgbWlub2d1ZSBhdXRvbWF0aWMgbG92ZSBwb3J0dWdhbA%3D%3D
- “Automatic Love” Live at Parabens RTP Portugal https://www.youtube.com/watch?v=NCSU64L2BwE&pp=ygUla3lsaWUgbWlub2d1ZSBhdXRvbWF0aWMgbG92ZSBwb3J0dWdhbA%3D%3D
- Kylie Live at T in the Park 1995 https://www.youtube.com/watch?v=oDZEx-R4fRw
00:00:00 --> 00:00:06 Stick or twist, the choice is yours. Ooh.
00:00:09 --> 00:00:39 This is CCTV, the nonstop pop show where we provide our unfiltered, honest opinions on global pop music. And today we are going back to 1994 to revisit one of the most fascinating reinvention albums in pop history. It's Kylie Minogue's self-titled fifth studio album simply called Kylie Minogue. And this is the era where Kylie went from stock Aitken Waterman puppet to indie label dance diva. And we are breaking it down track by track.
00:00:39 --> 00:00:56 This is also when Kylie started working with friend of the show, Steve Anderson, who gave us some exclusive insights we will be sharing during this episode also. Yeah. So we have done a ton of Kylie album reviews and other Kylie episodes on our show. So definitely go check those all out after this one if you haven't already.
00:00:56 --> 00:01:11 Yes, and also check out our interview with Mr. Steve Anderson on our channel. We were talking about steps that time, but either way, it's Steve Anderson, y'all. Check it out. All right, so let's get into Kylie Minogue, also known as KM94. So Kylie Minogue.
00:01:11 --> 00:01:27 Kylie Minogue is Kylie's fifth studio album, released September 19th, 1994. And this was her clean break from PWL Records and Stock Aiken Waterman after they didn't renew her contract at the end of 1992. Yeah.
00:01:27 --> 00:01:46 She turned down EMI and A&M to sign with Deconstruction Records in 1994, a boutique BMG indie known for cutting edge dance music. And founder Pete Hadfield famously said, Kylie is regarded as a trashy disco singer and we regard her as a potential radical dance diva.
00:01:47 --> 00:02:14 So the recording of this album was kind of a chaotic producer dating spree of sorts. She had sessions with Saint Etienne, the Rapinoe Brothers, Brothers in Rhythm, M, People, Pet Shop Boys, Jimmy Harry. And there was even a never released Prince collaboration at Paisley Park, too. So sonically, this is a dance pop album with a very serious mood. There's some trip pop, house, acid jazz. There's some Middle Eastern strings.
00:02:14 --> 00:02:35 There's some R&B influences and some quiet storm balladry as well. So chart-wise, the album hit number four in the UK, number three in Australia, and it hit gold in both. And there was actually a planned U.S. release, but the label that was going to release it, Imago Records, did fold in 1995. So that unfortunately never happened.
00:02:35 --> 00:02:50 Well, we will dive into the production, vocals, visuals, performances of each song, and then we will drop our individual ratings. And you, of course, are free to join us, lovers. But if your discretion is advised, your fave will be criticized.
00:02:52 --> 00:03:10 Okay, before we get into the album, let's talk about this iconic album cover. She's on the floor. Yes. Styled by Katie Grand. Mm. Crouching. Crouching. In a Paul Smith suit. Mm-hmm. And glasses. You know what? I love this video. I'm a video. Cover. Cover. Ha!
00:03:10 --> 00:03:37 We are so excited. You couldn't tell. Spoiler alert. But yes, so I feel like I really like this cover. I remember you mentioning, and another friend of ours mentioning, Kylie's self-titled. I was like, what is this Kylie self-titled? I don't understand. She had the original Kylie, but this 94 is different. And it is different. It's not bright. It's not her being all cutesy. It's her on all fours looking at the camera like this.
00:03:37 --> 00:04:05 You know, I mean, my outfit is kind of inspired by her. I didn't get the full blazer, but I got the little black top and the glasses, you know, and the blondes. I'm blonde today, honey. So, yeah, I love the confidence. I mean, she was like, what, 24, 5, 6 around this time. So, yeah, like, you're turning into a woman. You're past that college age. You're like, oh, trying to be a hottie. And also she was leaving that colorful bubblegum, you know. Yes. So give me some of that.
00:04:05 --> 00:04:34 Yes. I mean, I love this, right? Like, this is her breaking out and actually doing her own thing. And so I love how confident it is. I like that it's kind of androgynous as well. Like, it's not like she doesn't have any heavy makeup. Like, it's just, yeah, it's all very natural, which I kind of love. And yeah, it's just a really memorable album cover. Like, you see this on the shelf and you gravitate towards it. Yes. It's raw.
00:04:35 --> 00:05:03 Yeah. All right. Let's get into the album, starting with Confide in Me. This was done by Steve Anderson and Dave Seaman, also known as Brothers in Rhythm, and also Owain Barton. And this was released as the lead single in August 1994, hitting number two in the UK and number one in Australia for four weeks. Fun fact, this was the third time that the band Wet Wet Wet prevented Kylie from a number one single in the UK. Yes.
00:05:04 --> 00:05:28 Why I ought to. So the song apparently came together really quickly. And Kylie's demo vocal, which was recorded in one take, is mostly what ended up on the final record. And the song is built around an interpolation of It's a Fine Day by Jane Lancaster, which was written by Owain Barton. And that is a cult indie a cappella song. And Kylie also recorded a franglais version of the song called Fille Toi A Moi.
00:05:28 --> 00:05:58 for the 1995 Canadian release of the album. And our Patreon member, Ren, says that Confide in Me is in their top three or four best Kylie songs of all time. So, do we agree? Ooh, okay. So now I am... You guys have not watched our review or our reaction video to Confide in Me. I will say... I said it before. I'll say it again. Chris has raised me properly these past several years.
00:05:58 --> 00:06:22 I'm still going up and down the Kylie catalog, but I'm starting to understand a little bit more when he's saying, oh, it's not her best. But this, I remember you showing me, like, when we first started this whole Britpop, Aussiepop kind of thing. You showed me this video, and I remember being like, what the heck is this? What is this? But yeah, I think the whole idea of this song is really interesting because...
00:06:23 --> 00:06:48 Also during a reaction video, you're like, it's not really meant to be sexy. But I'm getting sexy. I'm going to go back on my hill a little bit and say it's sexy, it's sensual, it's sultry, it's seductive. And I think it's all because of how it's produced, right? The Middle Eastern influence makes the song feel really intoxicating. I know that sounds so messed up. Maybe not so messed up, but it sounds a little messed up. I'm like, what do you mean it sounds intoxicating? But there is a certain kind of...
00:06:49 --> 00:07:18 The scale that is being played on this little sitar situation, it just sounds like, I don't know, the frequency matters. The frequency of the song is not bright. It is not, you know, it doesn't feel like I'm open to all. It feels like a secret. And I think that's really important. Like the baseline and the trip hop beat keeps you in the pocket of a groove. It really reminds me of like a dark night in a warmly lit room with incense. And you're talking to a lover and you want them to open.
00:07:18 --> 00:07:36 open up to you in more ways than one. You know, so like, confide in me and I will do the same for you. It's about having influence on your lover, not being manipulative, although maybe it can be depending on your intentions, right? I love that because being vulnerable, it's sexy for some people. Some people are like, whatever, don't tell me none of your business. But Kylie's like,
00:07:37 --> 00:07:57 tell me everything and you mentioned her uh being a pwl puppet during a biography um it was written like that the song symbolizes internal power struggle that rages beneath her kylie's surface as he continues he says she is both the puppet and the puppet master
00:07:57 --> 00:08:24 So this is very interesting. I was like, ooh, okay. The bridge, the spoken bridge. I kept trying to figure out why the song sounds familiar. We're not huge Madonna fans, but I think you've heard Justify My Love and Erotica, right? Like we can both be like, oh, I can hear that. But what I do like is that this song isn't a complete carbon copy. It's not just like her whispering the whole time and it's not hooky and it's not meant to be super catchy. So like, I do appreciate
00:08:24 --> 00:08:48 the efforts here like i heard it i'm feeling it it's worth the five minute sit down and digest for sure yes yeah i do love this song now i do remember when i first heard it back when i was like 10 and i'm pretty sure the first time i heard it was watching the light years tour dvd um because yeah i also you know i think it was right kind of spinning around era when i kind of
00:08:48 --> 00:09:09 knew who she was. And that's when I kind of then went backwards. And she did perform this on that tour. And I was like, I don't really get this. But as I've gotten older, and of course, it's had some beautiful moments, you know, in her tours through the years. And now I understand the importance of the song in Kylie's discography and her artistry.
00:09:09 --> 00:09:39 I mean, yeah, I think the song is done so beautiful. The instrumentation is so beautiful. Yes. Like, I'm going to say this a lot, but Steve, and I think it's Will who did the whole string arrangement. It's so cinematic. And the sample is so smart. I had never heard It's a Fine Day before this. It's a little scary. Like, it's kind of like creepy lullaby. But them taking that melody and turning it into this big, dramatic moment is so cool. So creative.
00:09:42 --> 00:10:11 And also, apparently, there's a didgeridoo that Steve used for those low, like, rhythmic pulses, too. Yeah. So cool. Oh, my God. So cool. And, like, this is one of those songs where you need really good headphones and you just need to blast it because there's so much going on in the song and it just builds so beautifully. Yeah, for sure. And, yeah, you know, I say this a lot. I feel like Kylie is, like, a siren.
00:10:11 --> 00:10:30 Yes. You know, she does. She's so captivating and like hypnotizing in the way she does her vocal. Because like you said, it's sultry and it's seductive. But there's also a there's emotion in it. Yes. And there's layers to it. Like it's warm, but it's also kind of creepy. Yes.
00:10:31 --> 00:10:47 You know? That's totally, I agree. So I always envision her, like, there's so many songs. I think I mentioned again in a couple other songs from this album, you just imagine this, like, alluring presence that's just, like, you know, trying to draw you in. Oh, yeah, totally.
00:10:47 --> 00:11:06 But yeah, this must have been such a fun time to be a fan of Kylie. Like, can you imagine going from the bubbly bubbly of PWL and then she comes out with this? Yeah. You know, like, this is such a cool way to launch the whole career. No, that makes sense. I mean, the whole, like, part, the whole era. Yes. Yes. The deconstruction era.
00:11:08 --> 00:11:26 Oh, man. But yeah, I never get bored of this one. Yeah, no, same. It's so, so good. Same. Even the remix is like really fun because then it gets a little bit more hip hop-y. I mean, they have this weird Flavor Flav doppelganger sample in there. I hate that. But aside from that, I like the song. Yeah, there's some great live versions too. Yeah. Yeah.
00:11:26 --> 00:11:45 There's the Abbey Road one with the orchestra. There's that kind of rocky version that she did for Showgirl and the Live in New York album. Oh my god, yeah, yeah. Which is still, that live album is so, so good. She did it kind of slightly sped up for Aphrodite. I saw that. That was the first time I saw that. That confided me in slow. It was the two songs I heard on the tour, and I was like, that's a production.
00:11:46 --> 00:12:06 Yeah, yeah, yeah. Right, right, right. But yeah, it's always such a moment in her shows. Like even in the tension tour. Yeah. You know, like they didn't really do much production-wise on stage. She just kind of came out in that cape. Yes. And just sang her face off. The traitor's cloak. You know? Yeah, exactly. I just think of it because of you.
00:12:06 --> 00:12:33 But yeah, I think with the music video is also pretty effective too, because alongside it not being, like the music not being hooky, and the video is not meant to be hooky and catchy either. Like the whole song, even the live performances, like they allow her to actually sing and perform. And that's why the live versions do go off. Like she doesn't hide behind the smoke in the mirrors that, you know, a lot of like bubblegum pop kind of has like,
00:12:33 --> 00:12:48 Wow, amazing. This is very much like a vocal performance, an emotive performance. And in the video, it's like, oh, we love that. Like the only smokey mirror she uses, major air quotes around that, is used to set the scene so that she can steal the show.
00:12:48 --> 00:13:06 with her visuals, with her, the vocals, with her presence. And I love that she's like all these clones of culture in the video, like you have war, peace, violence, love, the party culture. And then she even gives like nods to her past self being really cute and bright. And I remember looking at her electrocuted hair look.
00:13:06 --> 00:13:36 And I was like, that's a choice. But it stands out. I think of that hair, that splatter behind her when I think of this video. That whole call girl thing was really interesting because I said it in the reaction too. But I'll say it here. It's like, which one fits your, which you need right now? Who do you need the most? Do you need a party? Do you need someone who's going to fight for you? Someone's going to love you? Someone's going to seduce you? Someone that's going to blankety blank fill in the blank.
00:13:36 --> 00:14:05 you know so i like the video yeah super memorable video um and you know the call center thing as well like there used to be as one of our comments was saying as well on the reaction that was such a common thing back then there were you know you could call in for all types of things yeah you know um and and so kind of referencing that was super fun i love the way it's edited with all the words and the way the frames come in and out and everything definitely keeps you interested because
00:14:05 --> 00:14:29 Person, yeah. Yeah. Um, and then going back quickly to the live performances, that Showgirl performance, the first version of Showgirl. Yeah. With the, like, contemporary female dancers in the back. And then I think it's Jason is her dancer, and they do kind of the partner dancing together. Dramatic. It is such a beautiful performance. It's, it's one of her best. Mm-hmm. Yeah. Mm-hmm.
00:14:29 --> 00:14:45 Okay, okay. He's like, I love her. I love this song. I do. Also, Spotify put out something new today about, like... Your most streamed artist? Yeah, your most streamed artist ever. And, of course, mine was Kylie. I...
00:14:45 --> 00:15:05 Truth be told, you haven't used Spotify in a little long while. Hopefully Apple Music follows along. But yeah, that's actually very funny and totally believable and understandable. You know, it's my friend to your house. I'm like, why don't I know the song? Meanwhile, it's probably a deep cut. I'm like, I do know it. I know it. I know it. He'll go and he'll always say, oh, we have to review. Oh, we have to review this one. So this is very accurate to you.
00:15:06 --> 00:15:26 Yes. Okay, so definitely a 10 for me. I was going to say, no surprise, 10 as well. Up next is Surrender. And this was done by John Waddle, Jerry DeVoe, and Charlie Moe. And this is a cover of Tia Carrera's song from her 1993 album, Dreams. I'm sorry.
00:15:30 --> 00:15:47 Yeah, I'm going to be honest. I had no idea before we started doing research for this that there were so many covers on this album. You know? Because I did not know the originals. That's understandable. When you're a fan, you're not like, oh, let me delve and figure out how you put it together. I just like how it was put together. I'm not going to ask you what ingredients you put in the cake. I love it.
00:15:47 --> 00:16:06 Right. I will say, now having listened to the original Tia Carrere version, hers is definitely very, very sexy and sultry. Kylie's is obviously still that, but she does popify it a bit. It's a bit brighter. Tia's is like very, very... I'm B. Yes, exactly.
00:16:06 --> 00:16:25 um but yeah this is a nice one i enjoy the groove of it i think kylie sounds good here she's emotive she's sexy she's very strong and you know i think you were texting me about her vocal on this because she is belting oh this is her b-day loud she was like i can sing
00:16:27 --> 00:16:57 Yes, I do enjoy the background vocalists on here too. Yeah. You know? Yes, exactly. We would kill that. We would kill that. And then the little spoken bits and whispers and breaths and, you know, this makes sense for Kylie. I can see why A&R heard this and was like, you could do a good cover of this. You know? I will say the song itself does feel very mid-90s. But I don't think that's a bad thing, right? Yeah.
00:16:58 --> 00:17:20 um i just feel like there were a lot of songs like this from that time yeah yeah okay okay okay i'm gonna say this once i'm probably gonna say it again later there are a lot of songs that this is a cover but she has the cachet of being kylie minogue so that's where it's like oh my god how many times can you hear a song it's like what version are you hearing um
00:17:20 --> 00:17:34 That matters, I guess. Or even like, who did it for you in the genre that they're occupying? Because like, shout out to Tia. Like, she was Roxanne in Wayne's World. She was Nani, Lulo, Stitch. Like, I didn't know the girl sang. She's a woman. She's a grown woman. But yeah, her...
00:17:35 --> 00:18:02 What does Tia sing? I just remember her being a stunner as a kid. I was like, oh, she's so beautiful. But yeah, shout out to the wind chimes in the beginning. I love the percussive vibe of this album, period. But the song has it. And it also gives the album a coolness. And R&B Eiley, R&B Eiley, I'm figuring it out right now. R&B Eiley, I'm hard with that. R&B Eiley or R&B Eiley. I don't know. Either way, R&B Eiley.
00:18:04 --> 00:18:34 I like R&B. No. I like R&B. No. It's good. But yeah. I like. It's a mood. And her leaning into the sound for a legitimacy makes sense. Like I feel like a lot of artists go toward R&B rock or something alternative to ground their sound and expand their reach. So that when they do go back to something a little bit brighter, it's like, oh, she does this too. And then you have fans who like, oh my God, I miss when she used to. Or they feel like it's a special treat when you do get a confide in me or like dreams. Let's say impossible dreams. Yeah.
00:18:34 --> 00:18:55 But yeah, she did a good job of misting over this instrumental because it is very, you know, hip hop-y and there's a groove and her voice is nasally. It's very pop. She does a good job of misting on it. Like singing R&B isn't super easy or else like every artist would have been successful at it. Like let's be so for real. Like there's so many 90s girl groups that kind of came up like, eh.
00:18:55 --> 00:19:18 90 singers like Tara Kemp, who was happening in America. Guys, don't ask me why I noticed. My sister's old. But she, Tara Kemp was like another, like, you know, blue-eyed soul kind of singer, but that she didn't want to sell out, blah, blah, blah. But she would sing things like that. I mean, freaking Wild Orchid. They were all just really loud. Oh, yeah. Right? So, like, everyone said, everyone would.
00:19:18 --> 00:19:47 Shout out to Wild Orchids. I would love to talk about them one day. No tea. I mean, a little bit of tea, no shade, though. They were loud. But yeah, I feel like this song has a natural progression from Confide in Me, like where it's arguably sinister. This one feels like a roll in the hay, satin sheets, pillow talk, and waking up in the morning with a hot cup of coffee. And this song does allow her to belt a little at the end. This is not the song I texted you at, but this is one of the songs that made me think, oh, yeah.
00:19:47 --> 00:20:15 This is her V-Day. She hollering. Yes. Look, she wasn't really allowed to do that. You know, and the PWL stuff. So I get it. I totally get it. All right. So I give this one an eight. How are you? Come to me, baby. Actually, I kept singing this throughout the day and it was at a 7.5, but I'm willing to give it an eight because I kept singing it today. Yeah. Okay. Okay.
00:20:15 --> 00:20:29 All right. Next up is If I Was Your Lover, done by Jimmy Harry. And this was actually originally planned as one of the singles for the U.S. market. I can see that. I can see that. Yeah. Do you agree with that choice?
00:20:35 --> 00:20:51 So this song reminds me of Prince. When you mentioned the Prince thing, I was like, oh, shoot. Because I can hear it, like, taking it way, way back. If you know Get Off, I had no business listening to that. But shout out to my daddy. He loved Prince. But the whole Prince thing, I can totally see. And then, like, if I was your girlfriend...
00:20:51 --> 00:21:07 Same kind of cadence without copying. It just, it feels a little similar to If I Was Your Girlfriend by Prince. Obviously Prince kind of went in a whole different direction. He was like, if I was your girlfriend, it was way different, right?
00:21:07 --> 00:21:31 But the whole thing is like, it's not just Prince, but it's also R&B and pop girls that my dad would play in his car. It's like Jodie Watley, Jasmine Guy with Try Me, Paula Abdul. It's not super new Jack Swing, but it does have that kind of vibe, obviously. I mean, think about Jade, Don't Walk Away. That one was really heavy with the drum sounds, but this is a light version of that. It's just a swing, it's groove, sick bass line.
00:21:31 --> 00:22:01 And Jimmy Harry, he's had his hand in a lot of fun production. He's done Touch of My Hand with Britney. He's done Supermodel like two years prior with RuPaul. So crafting sonic atmosphere is what he's good at. Like apparently he does his job really well. And he doesn't seem to copy himself, which is good. It's so important. Because this song creates a sense of yearning. Like the whole one love, one life, one soul, one mind. Like she wants to become one. But without sounding desperate.
00:22:01 --> 00:22:23 okay it's like the hip-hop beat and like i was i literally have a note right now i think this song would have popped off in the u.s if it had popped off we would have had a wild orchid kylie on our hands oh she would have become a soul diva you think maybe yeah you know but you know like we're so teeny tiny she would have been christina before christina was christina
00:22:24 --> 00:22:36 Think about it. You're so pretty. Wow, another timeline. Yeah, you know? Better the W would have popped off, too. Oh, so re-release it. I don't know, guys. I'm joking. But can you imagine if this song would have popped off?
00:22:37 --> 00:22:55 Interesting. Yeah, I do also see why it was potentially for the US market because it's funky with all the guitars and stuff. And the melody is definitely giving Mariah a little bit, like just the 90s kind of pop diva. You did mention Kylie's vocal, how she's kind of naturally quite nasal.
00:22:55 --> 00:23:15 in her delivery. But I think the actual vocal is really strong. There's like a big vocal slide into the chorus. Some of the adlibs, there's a lot of power there. And it's sustained. You know, she doesn't feel like she's pushing too hard. And there is a soulfulness there that doesn't feel, again, too forced.
00:23:15 --> 00:23:30 Yes. I do enjoy the little spoken bridge. Although I will say, I almost wish it was done even more sulturally. This one's done a little more straight. You're right. Come to me was a surrender. If I was your lover.
00:23:31 --> 00:23:58 I'd hold you in my arms. Okay, come on now. Come on now. Come on. Give it to us. Ain't no way to blame. Oh, Lordy. You should keep that in. Yes. You should totally keep that reading. And that was amazing. Yes, that was it, y'all. That was it. He did it. That was it. Like, she is really giving it to you. Oh, my goodness. Oh, my God. But, yeah, I'm curious if it would have done anything. So, I don't know. In the U.S.,
00:23:59 --> 00:24:14 Maybe not this one. Maybe. I don't know. I don't know because it has so many competition was fierce. I mean, even like, come on. The people I named even, they were hot in the 80s. But the point is some of the people that I named were tough competition. Yeah. But yeah, so this one. For sure.
00:24:14 --> 00:24:35 I don't know. I don't want to score it too low because I have similar scores, but I don't want to score it too high either. So I'm willing to give it a 7.5. I have written down 7, y'all, but I think 7.5 because there are some songs I feel like are a little bit weaker. Spoiler. Okay. I will go 7.5.
00:24:36 --> 00:25:05 Up next is Where Is The Feeling? And this was done by Brothers in Rhythm and written by Jane, Hannah and Wilf Smarties. And this is a cover of a 1993 club track originally recorded by Within a Dream. And the album version is a bright acid jazz and a disco stomper and was released as the album's first single in Japan. And a rumor is that there was a simple video made with using existing photos and clips. But this seems to be lost media. If it exists, show us, link us quickly.
00:25:05 --> 00:25:20 in a hurry. However, when released as the third and final single from the album in July 1995, Steve Anderson, Kylie, and team took the song to a whole different place and created the Brothers in Rhythm Dolphin Mix.
00:25:20 --> 00:25:38 And Kylie also contributed some new lyrics to the single mix. The single started at number 16 in the UK and number 31 in Australia. And, of course, we reached out to our friend, Mr. Steve Anderson, who has been on our show before, as I've mentioned, to ask about how the single version came about. And he said...
00:25:38 --> 00:26:02 I'm just about to do an accent. Yeah, I'm not going to do it. But he did say the album version was already out, but was tricky to play in the darker clubs. So the idea was to reinvent it with that in mind, with a spoken vocal and a whole soundtrack slash mood journey. We never imagined it would be a radio edit just live in the world of the 12 inch remix. But they loved it so much that they wanted to use it for that and the music video.
00:26:18 --> 00:26:38 and that music video we love that so thank you steve for giving us that little exclusive because this is crazy how different these two versions are okay let's talk about the album version first because i think it's like basically two different discussions here yes um and maybe even two different ratings potentially um
00:26:40 --> 00:27:05 The album version is super fun. It has such a great energy to it. It's super bright. There's those keyboard flourishes and there's like a funky guitar there. There's bongos and like that disco beat. And she sounds great on the vocal too. As we know, she's great with these kind of bright dance pop songs. Like she's just kind of meant for that a little bit. And I enjoy the chorus. You know, it's super catchy. It sounds very sincere here.
00:27:05 --> 00:27:28 And even though the song is six minutes long, totally keeps my interest. Like the song builds really nicely. Different instruments come in and out. The strings come in. The BGVs get more complicated. Kylie starts belting her face off. And you get this little kind of cool down moment as well. So, yeah. I mean, I like the album version. What do you think? All right. This album version.
00:27:30 --> 00:27:45 I love all versions of this song. I'm not going to hold you. This song brings out a little bit of that older Kylie stuff, but more sophisticated. It's just so funny that the version single that they got released was like, nope, it's going to be right in line with a 94. Enjoy. Um,
00:27:45 --> 00:28:02 But it's so funny how this album version is very true, but progressed early, Kylie. Yeah. I love that there's a synth playing a wind instrument. Like, it keeps the whimsy going through that intro. The verses fall into, like, this percussive performance that sounds like a light version of D.
00:28:02 --> 00:28:24 diva house first verse is simple second verse gets hit by harmonies it gets a spark of energy because let's be real the chorus is super simple it's repetitive and it is catchy it is not my favorite chorus but it doesn't mean that it's bad it doesn't mean i hate it it is effective i was just like is there anything else more to say and it was like no it's what we're going to say and i said okay i accept it that's all it is nothing crazy but
00:28:24 --> 00:28:40 but I do accept it for what it is. I'm not tolerating it, though. I will say that. Not toleration. It's more just like, I can appreciate it. You know? The bridge is also the same way in terms of repetition, but what the chorus does not do completely, partially, yes,
00:28:40 --> 00:28:55 The bridge builds with harmonies and variations on the melody. So thank you. And shout out to that piano interlude. Fun. Like, heck, any time the piano is played, something happens. Like, whoever was going off in there.
00:28:55 --> 00:29:22 It gets Steve. You know what? At this point, after interviewing him, am I surprised? No, the man's brilliant. But no, seriously, it's like this song was meant for both Kylie and the production to show off. And this is one of the longer tracks on this album that is actually well thought out. And all elements, all elements, vocals, writing, arrangement, production, shine. Like this is one side of a perfect song coin that I have for this episode. Spoiler alert. Spoiler alert.
00:29:22 --> 00:29:50 Nice. Yeah. Okay, so if you were just to rate the album version, what would you give it? I think I would give it the 10 because it's such a bright production and encapsulates what she used to do without sounding like a stick of cheese, a big old block of stinky blue cheese. I love blue cheese. But it's not cheesy to me and it doesn't sound like she's getting ready to start dancing in a little dress. So I would give this one a 10 because all my notes are pretty much about this song.
00:29:50 --> 00:30:09 about this album version. Like, I listened to it. I had to think about it. I actually didn't do my notes, remember? I didn't finish my notes on this until today. I had to think about it. Oh. Yeah. Okay. Nice. I think I'd give the album version a nine, but I think I'm a little biased because I actually heard the single version first. Oh.
00:30:09 --> 00:30:38 Wow. Yeah. Because I think when I was going through the Kylie discography, I was just watching the music videos. Oh, okay. So I did all that before I kind of dove into the album. So I didn't actually know about the big switch until later on. I do, before we get into the single version, I do want to shout out the acoustic version that's included on the special edition of the album. Because it almost mashes up the two. Yes. The acoustic version, the TKO version, the Dolphin Bix. I love all of them.
00:30:39 --> 00:31:00 Yes, exactly. Okay, so the B.I.R. Dolphin mix. So our friend Edward did say this is one of her most underrated singles ever, which I can agree with, actually, because it has kind of been forgotten in time a little bit because she hasn't really referenced it or performed it much. Chart position wise, it didn't really make that much impact.
00:31:00 --> 00:31:22 Yeah. But it's so cool. Dude, yeah. Like, what a cool way to reinvent the song. I love the instrumentation. It's all dark and wiry and, like, alien. Alien. Like, all the synths and that kind of constant bass drum going. And then making the verses kind of just spoken just adds a whole different energy. But I think the coolest part is, like...
00:31:22 --> 00:31:45 There is a cheesiness if you just read the lyrics, right? So like in the album version, anytime you want me to, you know, it's like... I can make you happy. Yeah. Right. But then in this version, you have her speaking along with it. There's like a whispering layer too. And that's actually kind of scary, you know? I can make you happy. Girl. Yeah.
00:31:46 --> 00:32:05 Exactly. Exactly. Oh my God. Must I know? And then they at least had her belt a little bit for that. Yeah. Kind of a bridge, I guess. Kind of a bridge. Leading into kind of the last part. Because then the whole thing pulls back and gets all warped and there's just so much tension leading up to those final moments. This is such a cool song.
00:32:05 --> 00:32:21 Yeah, no, totally. I feel like nowadays the song would have gone off. I mean, think about Crazy in Love, right? It's so cheesy. It's so loud. It's like, and then when the Fifty Shades of Grey movie came out, I think they commissioned her for like a broken, uh, oh, uh, oh, she gonna kill me? Yeah.
00:32:21 --> 00:32:43 She's going to sit up, sit on me, please. Suffocate me with that booty. You know, it's giving that. Like, this is kind of the same thing with Kylie, where it's like, she's like the size of an almond, but she could smother me with whatever she wanted. It would make me so happy. You have no clue. If you guys have ever watched Sailor Moon, like, you know how the villains are like, oh, I'm going to give you something that you really love and, like, kill you at the same time. Like, that's the same thing. It's like... Yeah.
00:32:43 --> 00:33:13 have a sweet dream. Meanwhile, your energy's being drained. You're turning to like this gray vegetable that Michael Jackson talked about and want to be starting something. Like you turn to that vegetable. You're a vegetable dead, right? But you're like so happy. This, the dolphin mix gives that vibe. And then the video, hello, Siren. Yes, exactly. Hello, Siren. She's all wet and stuff. And she's like, come close, come close. She's like, come close.
00:33:14 --> 00:33:38 I'm gonna play in the water now Yes I'm watching Are you watching me? Yes It's all in black and white Look at my mouth I'm so sexy I'm no longer a baby Kylie I should be so lucky No you should be so lucky You know like it's great Yeah and then that man Just shows up out of nowhere To do some making out And then she pushes him away again I love that for her Use them Me too
00:33:40 --> 00:34:09 Oh, my God. This is such a beautiful video. Again, a little scary. Yeah. Her makeup is, like, very heavy. She looks a little scary. I love it. Yo, I love it as well. And, like, the extreme close-ups and all the constant switching. Very artistic. Yes. Very artistic. And it is giving horror movie a little bit. It's a little eerie. But I'm kind of here for it. Yeah, I mean, even with the single artwork, it looked like Olivia Dean's, you know, Art of Love. Like, it's...
00:34:09 --> 00:34:34 quote unquote ahead of its time but it's one of those things i look at what the girls are doing now and it's like kylie did it so many other artists did it but we're talking about kylie right but it's just it's very nice to kind of just see all of it and look back and be like damn girl if i could afford to cover this i would please let me license this song okay
00:34:36 --> 00:35:04 Oh, my God. All right. So she hasn't performed this much at all. She does have some fun TV performances, mostly at the album version, actually. She did do the single version at her Tea in the Park set. But it's hard at festivals, you know, because she's, like, trying to project over all the wind and everything. So, yeah, this deserves a live outing, I think. It does. Oh, my God. Every version of it, please. Thank you. Like I said, Ted.
00:35:04 --> 00:35:27 It's a 10 for sure. Okay, moving on to Put Yourself in My Place. Yes. Done by Jimmy Harry. And this was released as the second single from the album in November 1994. And it peaked at number 11 in both the UK and Australia. The music video was directed by Keir McFarlane and is a direct homage to the opening sequence of the 60s movie Barbarella.
00:35:27 --> 00:35:37 And the video took almost three whole days of filming with harnesses and wires literally pulling clothes off of Kylie. And she said it was one of the most painful shoots that she's ever done.
00:35:37 --> 00:36:00 But luckily, the video actually won Best Video at the 1995 Aria Awards. If you want to be torturing me. Worth it. Worth it. And shout out to Say Hey as well. One of the members noted that the Drizza Bone remakes of Put Yourself in My Place is influenced by their own track, Real Love. Oh, nice. So it's like this R&B jam version of this one. Yes. Okay, that makes sense because I get a certain influence from this. Okay.
00:36:06 --> 00:36:23 Now, I've mentioned a couple times on this show that my family is ancient. And I had no choice but to listen to whatever they were listening to. But yeah, no, a ballad. Ooh, hello. I'm a fan of 80s and 90s ballads, music in general. And this kind of feels like a light, very light.
00:36:23 --> 00:36:48 In terms of like their choruses, Tears for Fears, or like any random cottagecore dress wearing pop singer from the 90s. Like, you know, think about it, guys. The floral dresses, maybe some glasses, a hat that's tilted upwards, socks and some combat boots. It's like this is totally this. But again, she has the cachet of being Kylie Minogue, so it does not feel too generic. And also the R&B thing, I can kind of hear it like...
00:36:48 --> 00:37:05 again, with the ancient family thing. Tracy Spencer, long lost name in R&B pop space, but she was like super young teenagers, has a high-pitched voice similar to Kylie's, and there's a song called Tender Kisses.
00:37:05 --> 00:37:27 I wish Kylie would have leaned into the Quiet Storm vibe, but Tender Kisses is right up Kylie's, Kylie 94's alley. Like, it's very sad, I will say. It's very, like, sad R&B, so I think this song does a good job of just feeling a little bit more like a nostalgic, kind of like a warning kind of vibe. Um...
00:37:27 --> 00:37:48 And also, this song is high, very high vocally. So I kept making that comparison because I'm like, what do I hear in this song? Like, I hear 90s. I hear, like, that whole, damn, I wish I was your lover. Like, that little, like, white girl in the dress vibe. No tea, no shade. I hear it. But also, I kind of get the sense of, like, that quiet storm. But, yeah, the song is super high. The chorus is...
00:37:48 --> 00:38:08 It's high. And I've never seen her actually hit it live at this point. I don't care. It's hard to sing this song. In the studio, it's different. You're in a treated room. It's whatever. It doesn't take away from her talent. It is just interesting that she doesn't go for it. I think lyrically, the song is run out of the mill in terms of subject matter.
00:38:08 --> 00:38:38 Yeah. You know, but I love that circle will come around. Like, you know, I love that little, you know, what goes around comes around Sam Sarai vibe. But the lyrics like you hurt me one day, like someone's gonna let you down. There'll be no one around. Get him. Yeah. Like, put yourself in my place. You'll understand one day. So shout out to the CCTV crew. If you guys do, if you're not too broken up about it, drop in the comments how long it took you to get over someone you actually cared about me eight months. So. Yeah.
00:38:38 --> 00:38:51 Oh, man. Yeah, so one of the people I was talking to about this album when I was telling them that we were reviewing it, they said, this song sounds very Amy Grant generic 90s music.
00:38:51 --> 00:39:18 So the cottagecore dress thing. Okay. Right. I don't necessarily disagree with that, but I think he meant it more in a negative way. Honestly, I don't mind this as a song in Kylie's discography. She doesn't really have any other songs like this. Yeah. You know? Yeah. So her getting this kind of classic 90s pop ballad, I'm not mad at. And this is a good one. Like, I think the melody is quite nice, especially in the verses. Yeah. I do think the chorus is quite unique.
00:39:18 --> 00:39:45 Like, just the way the notes come together. Because it kind of goes all over the place. Yeah. And I have the same note as you about her performances. Because, yeah, most of them she definitely changed it up to make it all a bit easier to sing. Yeah. I think the showgirl performance, she did kind of go back to the original. But I forget if it was maybe knocked down a couple steps. I think so. And also she sang it weird, too. The placement in her mouth was just so...
00:39:45 --> 00:40:04 Right. Like, throw a nose on the story. Right. Totally. Totally. I will say, though, I got to go to one of the super intimate Golden shows that she did here in New York. And I went to the New York one. And she included this song on the set list. And this song is...
00:40:04 --> 00:40:34 you know, it's not often done. Yeah. And I think she did Breathe as well, right? From the Impossible Princess album. So it was like really cool to hear her do these rarer songs in such an intimate place. So that was a really cool experience. So I will always think of that when I hear this song. And the music video as well. Oh, my God. Because the pink spacesuit, the bright orange hair. Yeah. It is such a memorable video. It's too bad it was so painful. Yeah.
00:40:35 --> 00:40:44 I will say, though, I remember the first time I watched it, I didn't expect all of the clothes to come off. Oh, with her little blankie?
00:40:44 --> 00:41:10 And I was like, whoa. Because you remember, I was like 10. So I was like, whoa, scandal. Scandal. Scandalos. I mean, her being in her little blankie, I was like, girl. I think the video is so pretty. Love the reference. I remember when I was a little kid, again, shout out to Showtime. I mentioned this in our confide in me. I was watching, so I had no business watching. You're like five watching Barbarella?
00:41:11 --> 00:41:37 You know, I will give my parents a little bit of credit. They didn't let me have cable in my room until I hit like 12-inch. So a lot of this is retroactively being like, oh, I'm making connecting dots and stuff like that. So, shout out to Showtime or one of those older things for showing like old movies like, you know, Faster Pussycat Kill and Barbarella. I've never seen it from the beginning, so I do not remember the floating. I remember the Big O machine.
00:41:37 --> 00:42:02 Have you seen Barbarella? Real quick. I haven't. I'm the opposite. I only watched the beginning scene because I knew it was referenced in this video. Okay. Correct me if I'm wrong in the comments. Whatever. I've seen it once. Again, no business watching it. Mind you, this was rated G or PG back in the 1960s. Right now, it's PG-13. Maybe R. Whatever. Point is, she's in the machine.
00:42:02 --> 00:42:23 And the villain's like, oh, I'm not going to let you out. And, you know, he's going to give you infinite, like, you know, those or something like pleasure. So she, like, she overcomes the machine because she's like, oh, oh, my God. Oh, wow. Oh, over and over again. And then it breaks because, like, she just can withstand all of the, oh. It's so sad.
00:42:23 --> 00:42:40 I think I need to watch this movie. Guys, correct me if I'm wrong, but is it not this movie? I could be, I'm okay with being wrong, but I feel like this is like the, and she's like, oh, oh my God, I broke the machine. Like, it was like, girl, please. But the point is, the point is, the movie reference, gold. I've never seen the beginning of it, but now.
00:42:41 --> 00:43:02 Right. There was no DVR, y'all. I'll just say that. It was just late night channel. It was on. So, yeah, I love the pink and the orange hair. And also, it must have been a shock to see her like that, especially when you grew up watching on the soap and then, you know, in the music and stuff like that. And even when she was playing Cammy in Street Fighter, she wasn't naked. Sure.
00:43:02 --> 00:43:27 She wasn't looking at all. And also shout out to her for protecting her peace from that guy who's trying to dock her ship and peek inside. Send him away. Away. Yes. Into orbit. Yes. All right. So I give this one an 8.5. I'm trying to figure out. I'll give this one an 8. Okay. Ooh. So hard. It's a hard 8. Oh. It's a hard 8.
00:43:28 --> 00:43:43 All right, so we are halfway through the standard version of the album. There are a bunch of bonus tracks and unreleased stuff. So if you want to hear us talk about those things, you have to join us at patreon.com slash cctvpups. And if you join the crew...
00:43:43 --> 00:44:06 You can hang out with us on Filtered. There's some exclusive live sessions. And you can help pick future episode topics. Yes. And also, if you want to follow us on social media, we're at CCTV Pops. That's right. On every day. Okay, moving right along to Dangerous Game. And this was done by Brothers in Rhythm, a.k.a. Steve Anderson and Dave Seaman.
00:44:06 --> 00:44:32 And this song was inspired by the idea of putting Kylie in a James Bond-themed-esque track. The special edition of the album includes The Dangerous Overture, a previously unreleased orchestral interlude that was originally meant to precede the track on this album. The song has been performed a few times on the Intimate and Live Tour, as well as part of the Crying Game medley on the Fever Tour. And never again. Apparently. Because she ain't got the time for it.
00:44:35 --> 00:44:45 Love's just a dangerous game. Okay, first, can we talk about the dangerous overture? Because... Yeah.
00:44:45 --> 00:45:14 What a crazy moment. Yeah. First off. Yeah. I had to ask Steve about it. So he said, the overture was the brainchild of arranger Richard Niles. He had an idea that it could almost be for the opening titles of Dangerous Game the Movie, as if it were directed by Alfred Hitchcock. So obviously it was quite out there, so it didn't fit on the main album, but so happy it ended up getting released on the deluxe as it's really fun. And yes, that is her screaming at the end. Right.
00:45:14 --> 00:45:37 so if anyone ever want to clock us we have the inside scoop there you go oh man but what a fun moment if they ever re-release the album it should be in there oh my god overture on there oh all right so this song is so interesting listening to like as an adult because like i said when i was a kid yes i was listening to older people music
00:45:37 --> 00:45:55 But I was also listening to Britney here and there and other pop girls. But like I said, because I was listening to it. Because my dad and my mom used to order the body and soul. You know, like you'd wake up in the middle of the night because the TV's still on and Celine Dion would start singing. Because I'm your lady. That was a cover, by the way, y'all. Yeah.
00:45:55 --> 00:46:18 My parents would order those tapes. So yeah, those CDs. So I was listening to a lot of singers, especially black singers, making music like this, right? Like Sonic, the sonic atmosphere created by the instrumentation and the background vocals specifically captures songs that I would listen to by artists like Regina Bell and like Stephanie Mills, especially Stephanie Mills, for example, right? Like when you think of Stephanie,
00:46:18 --> 00:46:35 You think of that nasal tonality, but she also utilizes it to have a crystal clear belt. Like, I never knew love like this before. She sang Home from The Wiz. So it's like she has a very crystal clear belt. Even to Mia, just moving a little bit forward,
00:46:35 --> 00:46:57 I think it was at Love's Put a Move on My Heart with Quincy Jones. It has this full band or orchestra behind this soprano singer, just belting her face off. And I mention all of this because it's not like Kylie's pretending to have soul. And you said it a little bit earlier. She's not trying to put on a whole...
00:46:57 --> 00:47:24 Nicole Scherzinger first album accent, PCD1 album accent, you know? And neither are the producers trying to fake anything. There's sophistication and intelligent present in the song, in the writing, the vocal production, and also the arrangers of everything. So again, this is the other side of my coin, where it's a little bit more somber, a little bit more serious. It's creating like a cinema...
00:47:24 --> 00:47:41 a cinematic universe in your head. I will say Kylie is pushing a little with some of the notes, especially when she goes for growls. But it's okay. It doesn't sound terrible, but I do hear it, but it does add to the melancholy of the song, especially when she says, like, I'm so alone. She's not a balladeer. She's not going to sit here and be like,
00:47:42 --> 00:48:12 So now for my umpteen song in the same spot. Like she's not that girl. Yeah. But I mean, if she was like the singers I mentioned, then maybe she would be a little bit more like, mm, big chesty belts all the time, you know, throaty. But it's okay that she's not. And then shout out to every single stringed instrument and synth on this album. Like real or otherwise, the bass, the violins, the guitar is all so lush. Like it's like a, and that bridge section.
00:48:12 --> 00:48:31 Wake up, baby. Well, she was great build. Great build. And this was the song that I texted you. And I said, oh, she hollering on this album. She's hollering. Yes. Like, this is Kylie's loud track. And again, I think a singer like Tamiya would eat this song up. Like...
00:48:31 --> 00:49:00 So, you know, if you guys are like, oh, you know, why should we go with these comparisons? I grew up with people like that, listening to things like that, and then like revisiting now as an adult. It's like, oh, Kyla did a good job though. My only note I will say is I was tempted to dock that 0.5 for that. I was like, girl, what are you yelling at? Almost docked a 0.5. But I'll let you, I'll say. I'm not mad at the dramatic sudden ending. Overction! Yes, especially on the Intimate and Live tour.
00:49:02 --> 00:49:24 She was feeling it. Actually, it's so interesting because that vocal, like you can tell just vocally how much she grew from the original session to the intimate live performance. Because I would almost say it felt more open. Yes. And the concert. I think we talked about it when we were doing Impossible Princess. I was like, this is when she's just the jaws hanging. She's breathing. This was the performance I was thinking of.
00:49:24 --> 00:49:34 Right. Yeah, yeah. So that's amazing. I love just the Bond idea for Kylie. You know, she, I think...
00:49:34 --> 00:49:54 should still be in the running for a potential Bond theme. I think she'd be pretty perfect for it. But yeah, the instrumentation, like you said, oh my God, it's so good. Like the song starts off quite subtly, you know, kind of just like a more typical heartbreaking pop ballad. But then even right after that first chorus, you get this kind of flourish. Yeah. Yeah.
00:49:54 --> 00:50:18 Yeah, and then it kind of goes back and you're like, oh, this is about to take you on a journey for sure. Like, you know it's heading towards something super dramatic. Yeah. And yeah, just the instrumental alone is just so beautiful. But yeah, I have kind of the same notes about the vocal here. She's definitely pushing herself for sure. You know...
00:50:18 --> 00:50:38 She was finding her voice, you know, quote unquote, like as, as kind of cliche as that is, she was restricted in those PWL sessions, you know? So I think her just kind of experimenting a bit and just kind of seeing how far she can push herself. Yeah. I'm not mad at that at all. That kind of big, big belt in the bridge.
00:50:39 --> 00:50:56 Definitely, that was hard. Yeah, that was hard for her to do. But it does, like you said, lean into the emotion of the song, for sure. The bridge, though, for sure, always makes me think of the Fever tour, that crying game medley. Because...
00:50:56 --> 00:51:25 Again, you know, I was still quite new to Kylie at that point, you know, and I didn't really go back through the albums until a few years later. You know, it wasn't until I was like more kind of late teens in my early 20s that I was fully going back into like the album songs and stuff. So the only part that I knew of the song was that bridge. Oh, wow. From that medley. So, yeah, it's I just always think of that. And that was such a good moment on that tour as well.
00:51:26 --> 00:51:33 But yeah, I think this makes sense to me for her just to kind of experiment a bit. And also for Steve and team to show off.
00:51:33 --> 00:52:00 Oh, heck yeah. Heck yeah. And I think that's what my score is going to reflect. It's going to reflect that. I don't think there was like, oh, they were doing a lot of heavy lifting for her. So if you're like, I don't care if it's going to score. It's fine if you don't agree. But I'm telling you why I gave it. Again, both, all sides, all parties were like, let's freaking go for it. Let's do this. And they did. And then the overture exists as well. And she screamed. So she can hit high notes. So for me, this is a 10.
00:52:01 --> 00:52:12 Okay. Yeah. So the other half of the, you know, where's the feeling? Nice. You know? Nice. I would go nine. Next up is... Automatic love.
00:52:13 --> 00:52:36 by Kylie Minogue, Inga Hump, Marco Sablu, Charlie Malozzi, and produced by Brothers in Rhythm. And the song was originally written with the Rapinoe brothers during the scrapped early 1993 sessions. And our Patreon member Darius wanted to shout out the performance of the song that Kylie did on the Parabens RTP Portugal television show in 1996.
00:52:41 --> 00:53:03 Yes, come on, couch. Hey. I automatic love. The production, the percussion of the song, excuse me, is so yummy. And this reminds me of like George Michael a little bit. Oh, yeah. Oh, God, what could have been? Did they work together? They didn't work together. I don't think so. See, Robbie Williams got in there. Robbie.
00:53:03 --> 00:53:31 Robbie got in there when he got in there. Smart man. Okay. And I love the lyrics. It's so interesting. It's like the first verse, I feel a stranger here. I lost all my memories and all of my fears. She is brand new because that man done put some good love on her. She said, you put me on. I said, girl, what's that like? I'm trying to see what that's like. It ain't never happened to me. Who's my life? She belted that too. She's like, I'm not going to scream it.
00:53:31 --> 00:53:56 But I love that. And like the short interlude, like a short little music moment between the chorus and the verse is a lost art. Miss those. I will say, even though I was saying she was pushing in Dangerous Game, I feel like vocally her belt feels stronger here than in Dangerous Game. Like there's little to no strain. You can really hear some resonance before she clips off the notes with like the nasally thing. Like the ah!
00:53:57 --> 00:54:21 She'll do like a little sound, but that's okay. You got to cut. It's a consonant at the end. So cut it off. Like, cut it. Close your mouth, you know? Cut your tongue. And the live, the song is very jazzy, which I do enjoy. I do enjoy. But yes. This one's a cute one. Wasn't that? Yeah. Well, it's interesting. This is the only one she has a co-write on as well. Oh, yeah. So again, she's like trying to find...
00:54:22 --> 00:54:51 you know, where she can contribute. And this song's a fun one. I like how pensive the track is. And yeah, beautifully arranged. It's so full, so lush, of course, because it's brothers in rhythm, you know. And yeah, the lyrics are pretty interesting. Like, especially that second verse, the references to the main menu and the screens and the keys. Very modern for that time, I'm sure. DVD screens and such and the digital interfaces. Yeah.
00:54:51 --> 00:55:18 I mean, be just like the big monitors. Be those big computer monitors. But yeah, I love the bridge the best. The instrumentation there when all the strings come in and then Kylie just belting her face off again. She's very passionate in her vocal delivery here because it is a pretty simple chorus, right? But every chorus is different. Like there's little inflections, executions, a little different. Yeah.
00:55:18 --> 00:55:47 And also, I did see that the original, the Rapinoe Brothers demo of this leaked. And it's actually not that different from the final version, but definitely more electronic. Like, Steve and team definitely did their thing to kind of make it more lush, add those strings in, kind of give it a bit more of an organic feel. So yeah, I can kind of see, I can see what they wanted to do with it, I guess. And yeah, she sounds great on that Portugal TV show. Yeah.
00:55:47 --> 00:56:14 Yes, come on, Couch. Kind of awkward for her, too. It's like she's just sitting on the couch with the host just staring at her. You know, that is a little weird. There's nothing wrong with looking at ours from the performer, but not that close. Yeah. You know, it's a little like, okay. It's like, you know, your kindergarten teacher's reading your book. It's just too close. Love the pixie. Love the cut. The couch performance. Come on, Couch. For this one, I feel like this is an elevated version of Surrender. So this one's an 8.5 for me.
00:56:14 --> 00:56:30 Okay, I'll go nine. I really like this one, actually. And also, I do want to shout out the acoustic version as well. That's on the Hits Plus. I love it. It gets all kind of these little twinkly keyboards and stuff. It's a great version.
00:56:31 --> 00:56:50 Up next is Where Has the Love Gone? And this was done by Julie Stapleton and Alex Palmer and produced by Terry Farley and Pete Heller, a.k.a. Fire Island. And this is the longest track on the album at nearly eight minutes. And it's built like a 12-inch house single. And this song is a cover of Where Has the Love Gone? by Julie Stapleton. Hence the credits.
00:56:55 --> 00:57:11 The original Julie Stapleton version is super vibey. Like Kylie's, they definitely turned it into full, proper house banger. They gave the house some furniture, yeah. Yes. Yes. I do like Kylie's vocal execution here. It feels very relaxed.
00:57:11 --> 00:57:32 Yeah. And I appreciate the layers of the background vocals and stuff. Like there's a male voice. It's quite prominent and ends up doing all those ad libs and stuff near the end, which is interesting. I'm not mad at it, though, because the song is so long that having another voice there adds to the dynamic and it does help keep my interest. Right. But yeah, all the hooks are very simple here.
00:57:32 --> 00:57:58 You know, where has love gone? You know, it's definitely has that hypnotic quality of like the 3 a.m. dark club and you just want the constant kind of looping beat going. So I'm not mad at that. I think listening to it sober during the day, I will say at like five minutes or so, I'm kind of like...
00:57:58 --> 00:58:27 This is coming from basically two people, because I have the same kind of vibe. Two people who don't drink. Yeah, right. Like, so where am I? I didn't have my coffee yet. Like, you know, that's literally what we're doing. Is that a protein shake? I mean, for both of us. I'm drinking 14 right now, y'all. Not sponsored, but if you know somebody, send them our way. You're so right. It has zhuzh. The song was zhuzhed very well. Yes. Very well. Yes.
00:58:29 --> 00:58:37 I'm thinking about this man in this vocal.
00:58:37 --> 00:59:05 So my editor, our editor, sorry, our editor and I have the same job. So we were working together this weekend and I was playing the song. She said, oh, okay. Who is this? She asked me. She asked me if it was Mel C. Because she was just listening to Mel. And she's like, is this one of her older songs? I said, oh, no, no, this is Kylie Minogue. She goes, okay, Miss Kylie. Miss, Miss, Miss. And then she forgot her name. She's like, what's her name? Kelsey? I said, no, not Kelsey. We got to educate her. Yeah. Girl, she's like,
00:59:05 --> 00:59:16 She coming on to it. She clocked something recently. And I was like, ooh, not the reference. Proud of you. But yeah, I think it's so interesting because like the way...
00:59:17 --> 00:59:39 I don't know his name. That man who's singing at five minutes at 35 saying, hey, love him, though. Love him down. The whole thing reminds me of the dynamic between Alicia Keys and Jermaine Paul or like Mariah Carey and Trey Lorenz. Like, it's good to have the male voice. But I do wish, like Alicia and like Mariah, that they played up the whole thing.
00:59:39 --> 01:00:01 male vocal more like give him a featured but like not really named on the album moment yeah sure you know because it would have been so interesting to hear him kind of respond because she's she's this is the most chill vocals we've gotten kylie in a while she sounds smoky and relaxed while the bgvs are holding down the drama like all the energy is coming from her friends being like yeah girl
01:00:01 --> 01:00:31 Mm-hmm, where has love gone? And she's like, no, no, no. There's no need to raise our voices, scream or shout. Like, love that line, because if we can't communicate, the love is truly gone. And in terms about the way you really feel, the love we have is no longer real. She gets it, right? By the end of the song, she's like, I get it. Like, from questioning literally to having it be a rhetorical question, we love a good progression. But like I said, I wish they would have played up a little bit more with the male vocal. You have it, you have the time in the music.
01:00:31 --> 01:00:56 You know, just write a little extra something for the gentleman. Let him explain his side. But yeah, aside from that, not a bad song, but it was a little long. Yeah, I gave it a seven. How about you? Me too. I feel like with Kylie episodes or Girls Aloud episodes, you and I constantly match. So y'all, it's never usually like this. I will say that.
01:00:56 --> 01:01:14 I mean, we both have good taste, so. You raise me well. There you go. You raise me properly. Okay, next is Falling, done by Chris Lowe and Neil Tennant, also known as the Pet Shop Boys. And this is produced, again, by Terry Farley and Pete Heller, a.k.a. Fire Island.
01:01:14 --> 01:01:37 The Pet Shop Boys were approached by Kylie's cam to contribute to her album, and they provided their demo of Falling. But the song ended up being completely rebuilt from scratch by Fire Island, and the Pet Shop Boys did not like the final version. They said in an interview, it doesn't really have the same tune in it, for instance, and they haven't put the chorus in, but I suppose that's very modern.
01:01:37 --> 01:02:01 yeah subtle shade subtle shade um the pet shop boys did officially release their demo in 2001 so you can find it now on streaming services it's literally called falling i think demo for kylie yeah and according to a member of pop square inventive username the final album version of falling is inspired by mr fingers can you feel it
01:02:06 --> 01:02:14 Um, okay, dude, um, let's be sober. Let's be so real. The LG version is so silly sounding. It sounds like a video game.
01:02:19 --> 01:02:38 The lyrics are the same in a way, but the tone is a little juvenile. So, yeah, a younger singer, like a teen pop girl who wasn't trying to make it. I mean, she was like 20-something, but if she was earlier ages, yeah, maybe...
01:02:38 --> 01:02:58 Like, I have earlier Kylie could have done it as well, but even a younger, just random girl who was not trying to make it past that one single could have done it, you know, just based on the Pet Shop Boy name. Like, don't get me wrong. Are they talented? Obviously. Like, obviously. They aren't the Pet Shop Boys for not being—they're the Pet Shop Boys. I know who they are, but this was not their best—
01:02:58 --> 01:03:15 move. I'm going to be so real with you. There's some Beyonce songs. I'm like, girl, why you do that? And that's fine. It's okay. Your fate will be criticized. Sorry. But I feel like with this song, the original is cascading in love. It just pours. And this one's more about descending into
01:03:15 --> 01:03:43 passion, not just falling. The harmonies with the spoken intro keeps the common thread of her speaking throughout this album really fresh. This way it feels like a sexy crawl, some body rolls. The instrumentation and direction for me feels like a stronger track that fits into the soundscape of the album, not to stroke the ego of some guys who are very talented, but just weren't... This was not the flavor of the dish that we were trying to... It's like putting sugar in a...
01:03:43 --> 01:04:07 in a burrito why don't it doesn't need sugar um but yes i will say the production it feels like a fashion show or at least like forever 21 shopping music but if you have seen our mel c sweat album review which you should totally watch you should know with me that's not a pejorative thing i would totally shazam this song okay fair fair yeah i have the same notes with you as you about the pet shop boys demo
01:04:08 --> 01:04:32 The chorus doesn't do much. So I can kind of see why they took it out. But at the same time, I can also see why they were they gave them this demo. Right. And they were like, go for it. And they're like, we're doing it. We're putting it on the album. And then they like listen to it. And they're like, what? You took all the fun. Yeah. Like, is this? Yeah. So I also understand from their point of view, they did change it quite a lot.
01:04:34 --> 01:04:49 But yeah, the final version is interesting. It's like the slow burning house track. There's like that constant whisper, falling in love, you know. And then there's that echoing vocal with a spoken layer under there. And the way that all the...
01:04:50 --> 01:05:15 different vocal layers come in and out and cross each other. Actually, it's very intricately arranged. So I'm actually kind of here for it. I will say I wish Kylie did all the background vocals on this because I think it would have benefited from that. Because I think it feels because it's kind of this kind of slow burning situation and there's all these kind of whispers and low talking, like it would just feel more intimate if it was just her.
01:05:16 --> 01:05:42 Yeah. On the vocal. But yeah, I'm not mad at this. Like, again, very hypnotic. Yeah. I can totally see why it would work well in a dark, dingy club, you know, with lasers at three in the morning. Cool. So, yeah. I think it makes sense. Like, if you tell me Kylie is doing or she's joining this, like, indie dance label, I mean, this is about what I would picture.
01:05:42 --> 01:06:05 Right. You know? Right. Yeah. Not a video game level for some weird animal creature where you got to save the other animals from some weird scientists. I will say, though, I think they were approached quite early on, so they didn't really, I don't think they were really given a brief. They were kind of just like, it's for Kylie Minogue. So they're like, great, here you go. You know? I'm teasing. One day someone's going to come through like, she talked crap about the pet shop boys. Yeah, I was joking. It's a joke.
01:06:05 --> 01:06:31 No, no, no. I'm just saying even from their point of view, like, I don't think they were given a real brief either. No, no, you're totally fine. I'm just waiting for someone to be in the comments to completely disregard what I've said. To be like, you know, it happens quite often on our show, y'all. It's not far fetched. But that being said, though, even though I think Kylie did a good job, Kylie and team did a good job of zhuzhing, this is just OK for me. So this is a 7.5. I also have it as a 7.5.
01:06:32 --> 01:07:02 Up next is, time will pass you. Bye. Like, they never say it. Up next is John Rhys. Sorry. This was written by John Rhys, Nick Zessis, Dino Fakaris, and produced by M People. This is a sticky set of names, y'all. I'm so sorry. And this is a cover of the Northern Soul classic by Toby Legend. Originally recorded in 1968. And this song was considered to be the fourth single from the album, but...
01:07:02 --> 01:07:06 This did not come to be. So not a good thing or a bad thing.
01:07:13 --> 01:07:32 Yeah, so I think the album campaign was kind of just over at that point. Plus, Kylie started working on Where the Wild Roses Grow. So yeah, I think it was just time to move on from the project. So I didn't know much about the song. However, now that I listen to it, Toby Legend.
01:07:32 --> 01:07:47 Amazing voice. Hello. But yeah, apparently the original version of the song was often played as one of the closing tracks at the legendary Wigan Casino in the UK as a signal that they were near the end of the night. Not really.
01:07:48 --> 01:08:09 That's amazing. They say you ain't got to go home, but you got to get the heck up out of you. Yeah. So given that context, I see why this ends the album. Cute. And I think it has that nostalgic connection for everybody. So I can see why they made it on the album. Because otherwise, I think it's quite an outlier.
01:08:09 --> 01:08:21 Like not knowing any of that, like knowing that it's a dance classic for British people, especially, I guess. I would just be like, this makes no sense on this album because it's so energetic and happy.
01:08:22 --> 01:08:42 There's a very heavy bass line. It definitely has that sing-along quality to it. Yeah. But I think melodically, like, you can tell it's an older song. Yeah. So I'm just in this kind of larger vision of, like, this cooler Kylie, this indie Kylie. I just don't really get it.
01:08:43 --> 01:09:00 You know, this is a fun track that ends with, I will say. It is fun and easygoing, even though it serves as a warning. You're getting gold. You might as well enjoy your life. A part of me imagines Step singing this. Oh, I could see that. Clara just... Yeah.
01:09:03 --> 01:09:24 Y'all know what I'm talking about. Yeah. She'd kill it. Let's be real. She'd kill it. Because I keep singing, let's take a chance on a happy end. Best Not Forgotten. Yeah. I don't know why I keep singing that song instead of this. I just, unfortunately, the melody's freaking amazing. I just hear it because I think the time will pass you. So I just think, so my mind just goes to, you know.
01:09:24 --> 01:09:49 um anyway that's not the song's not bad it is okay and i don't want to go too low at the score because kylie does sound good on this track but i think i'm not feeling the full connection to it truth be told and it is because of what you've stated already with where you're going in terms of the direction etc etc and like yes this could be a nice little connection to your past self but by this time you have already stomped her out with all those lf screams
01:09:49 --> 01:10:06 You know, Banshee screamed her skin off. She doesn't exist anymore. You know what I'm saying? So it's like, it's my new faction. So it's just one of those things where I'm like, okay, I don't think I really need this anymore because you already had something to do this. The sax solo moment was cute.
01:10:06 --> 01:10:24 Oh, I agree. It was cute. She was cute. But the song as a whole is a little mech, and then it's also a little too long, but shout out to that saxophone. You know? This is hecka decent. This is hecka decent. Like, I'm not mad at it, but I am tolerating the song because it's Kylie. Okay, so what do you rate it?
01:10:25 --> 01:10:54 I'll give it a seven because I think there are worse songs on the deluxes and like the unreleased and some of the releases and all this other stuff. Like not worse. It is worse. But there's worse. Point is there's worse. Okay. I also have it as a seven. And speaking of those bonus tracks and songs that did not make the album, if you want to hear us talk about those, including Nothing Can Stop Us, which was almost the first single from this album, you'll have to go to patreon.com slash cctvpops.com.
01:10:54 --> 01:11:22 But until then, let's move on to our cut or keep section. So, if we had to cut a song off this album, what would it be and why? Can you imagine someone singing to you while you're walking to the guillotine? You had to cut a song. Like it's a game show. Cut or keep. Um...
01:11:23 --> 01:11:46 Okay, if I were to get rid of a song. Ooh, okay, so the album is quite good. It is, yeah. So I think for me, I'll just cut Time Will Crash You, but I think I gave it the lowest score. Like, I had to potentially be like, I didn't like it at first. So yeah, Time Will Pass You. It is the outlier for sure. I guess if I'm not picking that one, since you already did, I guess maybe Where Has the Love Gone?
01:11:46 --> 01:12:08 Ooh. Yeah. Or I guess just in terms of cohesiveness. Yeah. I see what you were saying where surrender and automatic love kind of try to do the same thing. Mm. Thank you. So in terms of just like A&R mindset, I can see why those might be redundant. Thank you. But I do like both of those songs, so. Right. Yeah. Like, I don't hate it, but it's one of those things where I'm like...
01:12:08 --> 01:12:30 Yeah. Yeah, yeah, yeah. But yes, the whoa, whoa, whoa, whoa, can go, go, go, go. And then in terms of the keep, oh, man. I mean, where is the feeling and confide in me? I know they're both singles, but it's just like, dang, you know, those are just like amazing songs. So if I had to choose non-single, I guess Automatic Love?
01:12:30 --> 01:12:48 Oh, wow. Okay. Mine is pretty obvious. Dangerous. Wake up, baby. I saw you in Tennessee. Give it to me, girl. Okay. Overall thoughts and final rating. What do you think of KM94? Wow. I mean, for someone who's working on a freaking movie.
01:12:48 --> 01:13:08 and an album at the same time or at least music at the same time rather um really impressed i enjoyed this one um i think with impossible princess i was really surprised and i like music like that i like when music if you're gonna have a long song honey you better do something with it so this album has so many long songs and there was very few i was like girl
01:13:08 --> 01:13:38 Girl, cut it. Cut the cameras. So that's good. That's very good. And I think for this to have been like the first step in her being like, no more bubblegum, I'm hard candy. I think it's a pretty good album. Again, I don't know the full breadth of her discography, but I think we've hit enough of the decades. We just haven't gone back to debut. We've hit 90s. We've hit 2000s. We've even hit disco and tension. So it's like, I got a pretty decent idea.
01:13:38 --> 01:13:54 An 8.5? I don't dislike it. I like it a lot. I don't know if I like it more than Impossible Princess. I don't know. I don't know. I don't think I do. I don't know. I have to re-listen. It's been like a year now. I definitely don't. I think Impossible Princess is amazing. It gets a little wonkier, doesn't it?
01:13:54 --> 01:14:23 Oh, for sure. Yeah, so this is better than impossible, but it's such a good era of her hard candying herself. Yeah, no, for sure. So one of our patrons, Darius, he did say that this is his fourth favorite Kylie album, and he especially enjoys all the ballads and mid-tempos like Put Yourself in My Place and Automatic Love. Yeah. But yeah, I think I kind of said this at the beginning, right? If you look at this as a transitional album for her, like just her first time stepping out,
01:14:23 --> 01:14:45 away from PWL that had so much control creatively over what she was singing. And so her finally just, first, can I just say, you have to give her kudos as well. It was very rare for a pop person to leave a major label and turn down major labels to join a random indie label.
01:14:45 --> 01:14:54 Yeah. She's a maverick. Go ahead, girl. And so you have to give kudos. She was just like, I need to just experiment. Yeah.
01:14:55 --> 01:15:23 Yeah, and I respect that for sure. Yeah. Really cool. And just try something new. And you can totally feel that, especially as we get into some of the B-sides and stuff too. Like they were really just testing her and she was testing herself. Like she was just like, I don't even really know where my sound should go. Let's just get in these sessions with these random people and see what happens kind of thing. Down the budget. But in terms of the album, it's not the most cohesive album. And there is quite a few number of covers here, you know, and I, you know,
01:15:24 --> 01:15:52 And so like four or five, right? That are all covers. But she does a great job of them, you know? And there are some gems in here. And I think it is fun to hear her push herself vocally like this. Like she obviously now looking at her, she like fully knows her voice in and out. And she's found where the sweet spots are. So her just kind of pushing it in various ways. It's just kind of fun to listen to as a fan. So I appreciate what this album represents in her trajectory as an artist. I don't think it's her best album ever.
01:15:52 --> 01:16:10 I don't think it's even in my top five I don't think but I appreciate it Like in the context of her journey Oh fine So I'll give it an 8 Oh I was expecting a worse score I was like oh no you're very high A lot of these songs are great Oh interesting Her discography is just very strong
01:16:10 --> 01:16:33 Yeah. I mean, based on the albums I've heard, like I loved, I think you and I were just like flipping out about disco. That crap was just so good. Oh my God. I was thinking about Magic the other day. I said, this white lady was black. It would have been, Magic would have gone off on Urban AC. Okay. I feel like anything could happen. All right. So speaking of that, lovers.
01:16:33 --> 01:17:01 Lovers, what do y'all think of Kylie's self-titled 1994 album? Let us know in the comments and tell us what other artists or albums you want us to review next. And don't forget, you do get priority if you join our Patreon. That's that. And a huge shout out to our CCTV crew on Patreon. And that includes Lily, Emily, Juliet, George, Julianne, Jonathan, Janelle, Darius, Ren, Hillary, Luke, Venus, Ivana, Ryan, and our newest member, Chase. I sound like Oprah. I'm so sorry.
01:17:01 --> 01:17:21 And also, we're at freaking 10K on YouTube. So don't forget, you should be liking and subscribing and turning on those notifications. And you can follow us everywhere at CCTV Pops. Okay? And if you are listening on a podcast app, a follow and a five-star rating actually helps. I mean, get whatever rating you want, but you know this is a five-star episode. Stop playing yourself. Until next time, that's Chris.
01:17:21 --> 01:17:38 That's Chantel. You're tuning in to CCTV, the nonstop pop show. I feel like anything could happen. We jumped forward. Okay.