30. Put yourself in my shoes (1994)
Her self-titled 1994 album was meant to unveil a new, more grown-up and hipster Kylie Minogue free from the influence of Stock Aitken and Waterman: It wasn’t the triumph some expected, but it contained this rarest thing, a great ballad from Kylie in the form of the trip-hoppy Put yourself in my shoes.
29. Your disco needs you (2001)
Only one single in Europe and Australia, but it makes the list because it’s both absurd and ridiculously fun. Clearly the result of a concerted effort to evoke the song campest imaginable, it involves backing vocals from Village People, an Abba-esque chorus, and I Will Survive strings.
28. Breathe (1997)
Impossible Princess in 1997 doubled her predecessor’s unsuccessful quest for alternate credit, but people didn’t want Kylie singing songs from Manic Street Preachers and quoting poems from Billy Childish. Still, it has its moments, as evidenced by the shimmering synths and Balearic rhythm of Breathe, co-produced by Soft Cell’s Dave Ball.
27. Wow (2007)
Exuberant filtered disco-house, Wow’s big selling point is its hook. There’s not much to do – the title repeated three times, the singer’s voice sprayed with electronic effects – but it instantly lodges in your head: not one of Kylie’s best-known singles, it lives today as a Radio 2 jingle.
26. Time Bomb (2012)
Timebomb felt like an afterthought on the release – an addition to the CD box set and retrospective announced to celebrate the singer’s Silver Jubilee in the music business – but it’s a great piece apart. whole, fed by a surprisingly dirty and distorted electronic riff. .
25. The One (2007)
You might confuse The One’s sound, if not the lyrics, with Pet Shop Boys. Its relative lack of commercial success may have more to do with the fickleness of the mainstream pop market than its combination of shimmering synths, stage rock guitar riffs, and big chorus.
24. Better than today (2010)
Minogue said she felt “disappointed” by the rather frosty reception given to Better Than Today, blaming her old label. Co-produced by Stuart Price, its intro apparently influenced by MGMT’s Time to Pretend and its very familiar vocal melody, this is certainly a better single than its relatively low rating suggests.
23. Crystallize (2014)
Crystallize was left out of Kiss Me Once in 2014, later becoming a standalone single that didn’t garner much attention: perhaps its radio playing was hampered by the fact that it does somehow or another to pronounce the word “suddenly” in a way that sounds like it sings “sodomy”. Co-written by Dev Hynes, the song itself is all the Abba-esque charm.
22. Hand on your heart (1989)
One of Kylie Minogue’s best singles of the time before she demanded a change from her initial cutsey image and Stock Aitken and Waterman began to go all out on her behalf, the song itself- even – notably the bridge and the choir – is strong enough to withstand the work of identikit production.
21. I was going to cancel (2014)
The second single from his 12th album Kiss Me Once, I Was Gonna Cancel barely scratched the charts, stalling at number 59. It deserved a better fate. Written and produced by Pharrell Williams, it’s Daft Punk’s Get Lucky and Beyoncé’s Green Light in equal parts: 10 years earlier, that would have been a smash.
20. Enter My World (2001)
Come Into My World is a rare occasion where a remix of a Kylie single tops the original. Another composition by Rob Davis / Cathy Denis, the official single is cut from a musical fabric similar to Can’t Get You Out of My Head, but the electroclash overload of Fischerspooner’s version is what you need to hear.
19. Go back in time (1990)
Despite the slight weirdness of hearing Kyliee – who was born in 1968 – ask if we remember the soul ‘old days’ of the late 60s and early 70s, Step Back in Time, homage full of references to the music of Stock Aitken and Waterman’s youth is a total joy.
18. Children (2000)
A duet that appeared on Robbie Williams and Kylie albums – and which the latter went on to perform with everyone from Rick Astley to Bono – Kids captures the Williams / Guy Chambers hit machine in full bloom: lyrics audibly influenced by Ian Dury, sampled beat from Sisters Love’s 1973 soul classic, Give Me Your Love, big stadium chorus.
17. In Your Eyes (2001)
Fever, as of 2001, might just be the pinnacle of what Neil Tennant would call Kylie’s Imperial Second Phase: an album almost ridiculously crammed with potential hit singles. In Your Eyes was a simpler proposition than Can’t Get You Out of My Head, but it’s still a contagious and elegant pop song.
16. Where Do Wild Roses Grow (1996)
In a time when the lines between pop and ‘alternative’ music are blurry, it’s hard to imagine how shocking it was to see Kylie with Nick Cave, sing about getting fucked up with rock. . But Where the Wild Roses Grow is nothing new: it’s a classic Cave ballad, and the pinnacle of Kylie’s indie era.
15. Say something (2020)
The first single from Kylie’s next full-service album, Disco, features Radio Ga Ga-influenced electronics and a pure bubblegum chorus. You could, if you were so inclined, read his words as a comment on Brexit – “We all wanna travel, to the darkest place, so we go with our hearts, yes, that’s up to the mode ”- but let’s face it, they probably aren’t.
14. 2 hearts (2007)
A cover of a track written and originally released by electronic duo Kish Mauve, 2 Hearts is a kind of musical departure for Kylie. It is indeed the fishy electro-glam of Strict Machine by Goldfrapp subjected to a glitter Kylie filter: less intense, disturbing or evocative of a sexual dungeon, it still works.
13. I believe in you (2004)
New songs added to bigger hit collections usually carry a touch of “Will this do?”, But I Believe in You, co-written by the Scissor Sisters’ Jake Shears and Babydaddy for Ultimate Kylie in 2004, is a cut above. top: I Feel Love synths and lyrics that blend in with stalker territory Can’t Get You Out of My Head, give the killer chorus a hint of creep.
12. What Should I Do (1990)
Kylie’s third album, Rhythm of Love, was the culmination of her Stock Aitken and Waterman years, an argument as strong as this that those who dismissed the production trio as the embodiment of evil were wrong: What Should I Do is awesome, a brazenly pop version of Italo-house.
11. I Don’t Know Why (1987)
Many of Kylie’s early singles suffer from the application of Stock Aitken and Waterman’s flashy, cheap, and universal production, which is horribly dated, but I Don’t Know Why has seen them reduce sharpness to something that approaches subtlety: he also looked really charming.
10. A Night Like This (2000)
On a Night Like This betrays its origins as a track intended for a Swedish European dance singer called Pandora in its frenzied beat, acid-infused house synth line and subtle nods to ATB’s trance smash at 21. hours (Til I Come), but it’s really all about its chorus, which is totally indelible.
9. Dance (2018)
Recorded in Nashville, the Golden album was a bit of a mess, its sound rushing over everything from mid-range ballads for Radio 2 to Latin pop to country, but Dancing is the exception: a country / bright pop. hybrid house, with a hook oddly reminiscent of The Day We Caught the Train from Ocean Color Scene.
8. Love at First Sight (2002)
Its predecessor’s Can’t Get You Out of My Head’s Strangeness pop flipside, Love at First Sight, features a pretty cheeky revamp of Daft Punk’s Digital Love, released less than a year ago, but the song itself is fantastic. : a masterpiece of dark art by the singer-songwriter.
7. All lovers (2010)
All the Lovers is both anthemic and strangely melancholy: amid the sparkling synths, there is something elegant in its implausibly catchy chorus. She successfully refused to remove same-sex couples from her video and then revamped the song live as a tribute to her LGBTQ + fans.
6. Lent (2003)
A surprisingly minimal concoction of drum machine and analog synths, Slow’s surprisingly biased pop brand is understated by the singer’s usual standards and hypnotically irresistible: all-electronic, yet warm and sultry, and seemingly Kylie’s favorite of all. his own pieces. The particularly intense remix of the Chemical Brothers is also fabulous.
5. Shocked (1990)
Most of the Stock artists Aitken and Waterman who tried to assert their individuality had heartache, but when Kylie did, they seemed to rise to the challenge, giving up their identikit sound, writing better and classier songs and , in the case of Shocked, commissioning a remix by DNA that is very 1990 – breakbeat, piano house, rap – and a delight.
4. Better the Devil You Know (1990)
They might have been cursed with no sense of quality control, but Stock Aitken and Waterman could be masterful pop artisans and Better the Devil You Know is proof of that: effortless melody, perfect update. a disco cocktail of jubilant music and lyrical sorrow.
3. I can’t get you out of my head (2001)
It has become so ubiquitous that it’s easy to forget what a singular pop single Can’t Get You Out of My Head is: there are no verses, just a chorus and a bad-sounding bridge; there is a distinct obscurity about his cold words about destructive obsession. And the costumes in his video come across as an odd prediction of personal protective equipment.
2. Confide in Me (1994)
The moment Kylie’s attempt to reinvent herself as a more consciously sophisticated artist seemed like it could work perfectly, Confide in Me is atypical among her greatest singles and an utterly fantastic song: sultry, atmospheric, reinforced by playing strings. the melody of Jane’s a 1983 indie capella hit It’s a Fine Day.
1. Spin (2000)
Over the course of her career, Kylie has tried her hand at being Indie Kylie, Moody Kylie, Mature Kylie, and even Covering Toots and the Maytals on a Kylie kids’ TV show (see her 2009 take on Monkey Man with the Wiggles). But the fact remains that Kylie was essentially put on this earth to create glitzy, euphoric pop bangers, and Spinning Around is the brightest and most euphoric of the bunch. A bold reaffirmation of core values after its 90s alliances with left field; a perfect pop-disco nugget, a single that only those without terminal joy might not appreciate.