It would be the only time Kylie would perform her future-signature song to a less than roof-raising reaction. She was so in love with the song that when Kylie’s On A Night Like This tour began in March 2001, promoting the Light Years album, she included Can’t Get You Out Of My Head in the setlist, despite it being six months away from being released. Kylie Minogue | Can't Get You Out Of My Head “The first time I heard it I fell in love with it, I thought it was tailor made for me,” Kylie said in 2001. Indeed, Kylie knew within 30 seconds she had to have it, and insisted the label secure it for her. When Parlophone A&R Miles Leonard heard the demo of Can’t Get You Out Of My Head he knew it could work for Kylie. The song - a minimal, highly-digital mantra with no traditional chorus – was rumoured to be then offered to Sophie Ellis-Bextor (Davis co-wrote her hit Groovejet) although the British singer denies ever hearing it before it was a hit. They were also sourcing finished songs from top-shelf writers.Īrtists-turned-songwriters Cathy Dennis and Rob Davis had written Can’t Get You Out Of My Head in one afternoon, initially offering it to S Club 7. Parlophone teamed the singer with songwriters including Biff Stannard, who penned the Spice Girls’ Wannabe and had written Light Years’ title track and single Please Stay with Minogue. “Hence why most of those songs ended up as B-sides as they didn’t fit what Fever became.” “We’re not very good at writing to a brief, we just do what we feel like on the day,” Anderson explained to I Like Your Old Stuff. They reconvened in Bath again to start writing for what would become the Fever project. He and Kylie had started to work together at Peter Gabriel’s Real World Studios in Bath before Light Years, resulting in beloved B-sides as well as album cuts Bittersweet Goodbye, Butterfly and So Now Goodbye. That’s when I became interested in pop music with those synthetic sounds.”īrothers In Rhythm’s Steve Anderson, who went from remixing Kylie in 1992 to becoming a creative collaborator on her transformative Confide in Me two years later, also doubled as Musical Director on the star’s tours since 1998’s Intimate and Live. “It’s a little more streamlined, more sounds from late ‘70s and early’ 80s. “It’s as if we’ve gone to the club next door,” Kylie said in 2001. With Light Years and Fever, I guess I was right.”įor Fever, Light Years’ campy cocktail-sipping pop was out, edgy electronica was in. “Before signing with Parlophone there were people wondering if I’d come to a dead end of my career, but I never did, I always felt there as more to do. “Never at any time have I believed my time was up,” Kylie said promoting Fever in 2001. Signing with Parlophone, Kylie channelled her love of Studio 54 era disco for 2000’s ‘comeback’ album Light Years, featuring Spinning Around – her first UK No.1 in a decade. Yet just three years before Fever, Kylie had parted ways with UK label Deconstruction, after disappointing sales of 1997’s fan-favourite album Impossible Princess. Most pop careers are lucky to have one ‘imperial’ period where everything works everywhere Kylie Minogue had just commenced her second.įever – Kylie’s eighth studio album – sold over six million copies, won a Grammy and reached No.1 in 40 countries, peaking at No.3 in the US. At the time in the UK the album’s lead single Can’t Get You Out Of My Head was already sitting at No.1, where it would bed down for a month. That up-ended the pop tradition of sales generally peaking early in a career – following a path set by Kylie’s idols Cher (1998’s Believe) and Madonna (2000’s Hung Up) to demonstrate there is no timeline on popularity.įever was released on October 1, 2001. Kylie Minogue’s highest-selling album – Fever - arrived 14 years into her stellar career.
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