It’s been more than 10 years since her “Loco-Motion” charted in the US as her biggest hit, but yet it still appears a fever is building for her music.
With her first album release in the US since 1994 and her first major hit since 1988, it appears Kylie is regaining ground on the fickle US music landscape with her latest single, “Can’t Get You Out of My Head.” Yet it wouldn’t be wrong to say that despite the strength of that song, it is one of the weaker tracks from of one of the best dance CDs to hit in years. “Fever”finally made its way to store shelves Tuesday.
“Fever” pushes on the line of pop and dance in just the right way to strike a chord with everyone during these slow, cold winter months. There’s not a misstep on the entire album, which is almost impossible when you’re talking about a dance CD. The album is full of grooves that are sure to keep you moving throughout the year in the clubs, in the car, or at a party.
Kylie’s latest effort takes steps to avoid many of the problems that have plagued dance albums (or for that matter, pop albums in general) over the years, proving from one listen that she’s going to win over and keep American listeners. For one, the songs vary in tempo and sound, giving the album a palette of different styles and keeps from the trap of doing song after song in a similar style to capitalize off that one big hit song (are you listening, Backstreet Boys?).
There are no ballads on this album. Although they can be good hits for a dance artist who is trying to reach a larger audience, ballads can kill the momentum an album is building. Like recent albums she’s done, she has collaborated with the right people with credentials in producing the right sounds at the right time.
“Fever” is packed with 14 tracks that will keep you moving and open your mind to what could be the future of dance music. The first single “Can’t Get You Out of My Head” showcases the latest pop style that’s been seen in recent months with Madonna’s “Music,” N’Sync’s “Gone” and Britney Spears’ “I’m a Slave 4 U.” There’s nothing complex here – a simple beat with strong vocals over it and a very catchy hook.
Kylie keeps it simple by having repeated lyrics that stick in your head in a very short amount of time. It doesn’t hurt that the track was co-written by Cathy Dennis, who’s been involved with powerful pop music for over ten years now, first as a singer herself (“Touch Me (All Night Long),” “Too Many Walls”) and then as a songwriter for acts such as S Club 7 (“Never Had a Dream Come True”). A bonus: Dennis provides background vocals on two of the tracks.
“Fever,” the second single in Europe, also follows this territory but with a decidedly more electro-pop sound that reminds a bit of the old 80s new wave synth stylings. The feel, like many other songs on the album, is upbeat and catchy with some very creative twists that set it apart from the hundreds of dance CDs that hit stores every year.
For something more earthy, look to “Your Love,” with a straight ahead backbeat but layered with a guitar track that gives the song an intimate feel that sounds quite unique. Kylie shines with a very powerful vocal, and hooks that pale most other dance offerings out there.
The relative weaknesses in this CD come from two late additions, “Boy” and “Butterfly,” which were added so recently that the promo copy didn’t list them. Although fairly catchy, they simply aren’t as strong as the original 12 tracks. However, they still outshine many dance songs on the radio.
Kylie’s career is long and distinguished, but it isn’t mere luck thats got her this far. Born May 28, 1968 in Melbourne, Austrailia, Kylie began acting at 11. She was catapulted to fame through her acting a few years later when she landed a part on the hit Austrailian soap opera “Neighbours.”
As a fluke, she sang “The Loco-Motion” for a charity, which was released as a single and struck big in a short amount of time. Still not considered a priority, she was forgotten when she showed up to the recording studio to record her next song.
The song was written that day, and “I Should Be So Lucky” became a #1 UK and Austrailian hit, along with making an early dent on the US charts. A rerecorded version of “The Loco-Motion” followed in the states, sending her to the highest point she would reach to date on the US charts.
She began to take control of her image, starting with “Better the Devil You Know” in 1990, where she did the video herself without the guidance of Stock, Aitken and Waterman – her mentors – who wanted to keep her image wholesome. Kylie’s instinct was right, as the Madonna-like morphing of her image proved to be one of the intriguing things in her career. While she fizzled out chart wise in the US, she continued to strike gold in many other countries around the world, scoring numerous #1s in the UK and Austrailia.
In 1995 she parted ways with Stock, Aitken and Waterman and did two albums on another label. These albums were more experimental and not as commercially successful as her previous, dance-friendly albums.
Returning to her roots, she released a collection in 2000, “Light Years,” which catapulted her back into the charts with singles like “Spinning Around,” “On a Night Like This,” and “Please Stay.”
While these tracks and others from “Years” were intended to be on the release of “Fever” in the US, we’re receiving the album from its original version, with the exception of two additional tracks, “Boy” and “Butterfly.”
Kylie’s musical history is nothing to scoff at, but “Fever” is arguably her best work. More than that, her latest effort is one of the strongest dance releases to appear in the US in some time. Dance may be dead in many people’s eyes, but with “Fever” the phoenix will only begin to rise from the ashes.
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