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Kylie's music always has a happy, and electric-pop kind of beat, and Body Language is no different. As the nineth album released by Miss Minogue, this album is different from any other but still recognisable as Kylie. Kylie has a sexy and sultry sound in some of her tracks especially 'Red Blooded Woman' which is my personal favourite, as it is incredibly catchy and sexy, and also has some attitude, for example when Kylie says 'you think i'll listen, no I don't care.' Although Kylie oozes sex appeal this is a very classy and feminine album, which could be owned by women of different ages, because of Kylie's age plus her ability to keep it youthful. Released in 2003, this wasn't Kylie's biggest album but some of the songs were released and are still recognisable, e.g. 'Chocolate', 'Red Blooded Woman' and 'Slow', possibly being her most memorable song from this album. Listening to this album makes you feel very chilled out, some of the music, for example 'Chocolate' is like some extremely chilled out dance music you may find on a chillout album. Listen to this album if you are in the mood for some chilled out pop/dance hits either for background music or simply relaxing to.
I may be a rock chick by preference but I am, at the end of the day, female, and sometimes us girls just need to listen to some pop. If I'm going to do that I am not going to turn to the latest offering of the X Factor and I'm not going to worship at the altar of Beyonce. I'm going to turn to something truly, provenly, poptastically fabulous and once upon a time I did so and chose a Kylie album.
Body Language was the follow-up to Kylie's astonishingly good pop album Fever. It was headed by it's first release, Slow, and the cover features Kylie looking decidedly Parisien and 70s-model-esque, all smokey eyes and fringe-tastic hair, with a crop-stripe top and bare midriff and tight black leggings whilst sitting on a bar, with the text of the cover art stretching behind her. Think Brigitte Bardot for the 21st Century and you're about there!
The title of the album is seemingly in reference to the first track and indeed first single release, Slow, which features the truncated line "read my....body language".
***THE INFO BIT***
New on Amazon: £4.20 (also available second hand and MP3)
Release: Nov 2003
The first release from this album and it took Kylie back to number one. It's a seductive, sensuous track and as the name suggests, it's not in a hurry to go anywhere.
Upon its release, this track was gifted a video shot from above of Kylie in a stunning dark blue swimsuit-style outfit, contorting and writhing on a towel surrounded by various other dancers doing precisely the same thing. Photographically and coneptually, it was pretty brilliant, and it totally backed up the mood created by the track.
As Body Language was released in 2003, nearly a whole decade ago, how does it hold up? Well the intro to Slow is not slow as such but sensuous, with a clear smooth baseline but swirling disco / electro toplines. Kylie's lyrics are whispered and husky, breathy and it's fairly obvious what the theme here is; seduction and nothing less. This is backed up by the lyrics "hear what I'm saying, and I haven't said a thing....come on and dance with me, yeah, slow...". Nothing is rushed here, it's an indulgent retro tease of a track and very effective for what it does, reflecting a more sophisticated take on the brazen sex goddess tag attached to the artist after the previous album's Can't Get You Out Of My Head and the infamous outfits that went with it.
Synthy intros lead us to sugary-sweet breathy high-notes from Kylie. I don't believe this was released as a single. I'm sure that this was intended as a continuation of the more teasing, sensuous lead single but I personally find this track disjointed, with the vocals overly affected by production and far too removed from the backing track, with no real hook that you can get into. If this were my usual type of music I wouldn't have an urge to dance to it and if I did I wouldn't know how to go about it. There are too many unexpected vocals, synth tweaks or occasional expressive "ohh!"s from the artist, as if someone has just administered a swift slap to the behind, for this to have any coherence - and that's before the electronically-tweaked voices of backing singers get thrown into the mix. A miss and a sore disappointment after the sensuous genius of Slow.
***SECRET (TAKE YOU HOME)***
A brief heartbeat-like intro leads to more electro sounds as this kicks in, Kylie follows soon after - thankfully singing again but here still she's against a stripped-down electro track and it makes her lack of range either hugely evident or her producers told her to rein it in. This is a pop vocal track over an electronic noise that has no depth, no bass and sounds both underproduced and overproduced at the same time. I suspect the artist would struggle to perform this live - it's more R'n'B than her usual style - so whilst her shortcomings in this musical genre are made up for by her voice being made to sound flawless, this is made laughable by Beyonce et al - and I don't even like them.
Vocally, you have what you expect; fliration, and nothing less. There only thing new here is Kylie's formula being applied to a new backing track, and frankly it doesn't work.
Another basic intro leads to a slightly more built-up bar or two before the breathy lyrics kick in. Again, this is massively produced. There's a little more disco-esque sound to this, but when it follows the dire track before, there's not much about it that stands out. At this stage, I'm starting to think that all this album is about is Kylie breathily singing her usual lyrics and then just letting her trendy producer of the time take over when she's gone home and turn it into whatever they want. Again, there's no depth here, no style. Okay, nobody else was putting out this sound at the time and I think the artist and production team were looking to really follow up that Bardot album cover with a new sound but it never washed with the buying public and there's one reason - it's boring, it's shallow and it's useful only if you were opening a cocktail bar in the early 'noughties'. It's now obsolete and when compared with later efforts such as "Two Hearts", this is insipid.
More disco-y, dancy fun here. Boring vocals kick in soon after the music does, in precisely the same tone as before, but there is some hope as a more bass-y electro sound builds and the lyrics start to show some rhythm and life. This is more energetic than the last few offerings whilst also having the same breathy vocals, much more envisagable as something one might dance to, more of a classy nightclub track with hints of eighties influence and synth edges, still nothing amazing but far superior than some on this album. It proves one thing; as with Madonna's dance album of the same time, this genre switch for female artists was viable if supported by a strong backing track - something Kylie herself went on to prove with the aid of the Scissor Sisters and something Rhianna has since been all over. The vocals here are snappier, sharper and more fun - one of the better tracks.
***RED BLOODED WOMAN***
The resurgence of the album continues here in a big leap - this was another single and the dark, sexy video including Kylie in skin-tight clothing fitted with the tone very well. Red Blooded Woman is a full-bodied track that comes out of nowhere when played after the tracks the precede it on the album. Kylie is no longer just a breathy accessory to a dance track that never started, but the driving vocal force behind a subtle yet perfectly-produced seductive pop track that no doubt is still played in night clubs and I am sure was remixed to devilry in its day. "This girl wants to rock with you" sings the tiny Australian and I'm sure that it made a lot of people want to dance with it.
At the end of the day, Kylie is now and was at this stage a stadium entertainer, and the crucial point is that I could see her charming the crowd with this one. To me, this, in it's brazen pop style laced with R'n'B tendencies, and Slow outshine the rest of the tracks here and belong on a far stronger album cut in the same style.
Synths are back, as are the breathy lyrics...or just breathy sounds over the intro. But this time I'm not complaining. For all I was apprehensive, the intro continues into lyrics in the same truly delightfully light and sensuous style, and the R'n'B influences are toned down just enough here for the chorus, which is utterly delightful, to take over. Okay, so we're lacking lyrical and vocal depth here but this song is a treat, an illicit indulgence just like the title suggests, and for all the continually samey tone of Minogue's breathy lyrics can grate between the chorus, when you reach that recurring section of the song it is truly well-written, well-executed and as the song builds to the climax, the production overlays the lyrics of it so effectively as to make it almost impossibly to get out of your head.
Failings would be the mid-track change of tone, although the one that follows is actually an example of how the R'n'B influence on this album does work - in the late 90's style, think En Vogue for the lighter audience, it does add texture and depth and layers to this track.
And that gorgeous, soothing seduction from Chocolate gets wrecked by a disjointed synth intro to Obsession. The vocals try to match this mess and early signs are not good. It doesn't get any better. This is a filler and doesn't deserve to follow something like Chocolate. It's like a bad Spice Girls album filler and Kylie should have known better. Skip it...
***I FEEL FOR YOU***
Wow, a truly 80s intro. Thunder, and rain, then birdsong and drums. Then in comes a fun, poppy backdrop of sound to Kylie singing, with some crazy over-produced "backing" singing that overpowers the whole sound. What is this mess?
I keep waiting for this to gain some coherence and momentum, and convince me that this isn't just a complete waste of time. Fever was such a strong pop album - unashamed to be what it was and consequently packed full of pop gems - and yet this follow up gives us this nonsense? Skip again...
The intro to this sounds like a direct rip off of 'Underwater Love'. It's nothing like as good. It truly does continue to sound like a slightly less aquatic version of that iconic track and I can't honestly pick out a single point of merit for this younger version. Again it's clearly devised as a means of seduction and meant to embody glamorous subtlety; it achieves none of those aspirations.
A darker, slower intro; briefly makes you think of Madonna's Frozen. This is short-lived; Kylie soon kicks in and at least she's singing this time, although still in the same massively limited range as the rest of the songs on offer here. At this point, be it by general disappointment at the new style or the album as a whole, I can't work up any enthusiasm for this song. It's nothing new. It's hyper-produced, there's no real emotion in the vocals, and for all the lyrics profess a desire to be with the object of affections, I'd no sooner deploy this as a means of romance than I would a cheese grater to my own leg. It's another filler and not very well done; there's no emotion to grip on to, just background noise that is impossible to connect with.
Please let it end on a good note. Oh, no. More half-arsed synthy pop. Almost reflective of the worst 90s disjointed pop that you could get, which is ironic because the failings of most of those acts was poor production, whereas this had all the production you could want. Oh well. A thoroughly disappointing end to what is a thoroughly disappointing album...
Slow, Chocolate and Red Blooded Woman were released as singles from this album and it's obvious why; they're good, full-bodied pop, albeit in various ways. They deserved to be singles but they never reached the heights of Can't Get You Out Of My Head. But they wouldn't - that was one of the most iconic pop tracks of all time, and they had the sorry task of trying to match it. They never would, so their lack of chart-topping glory was understandable (although Slow did manage it, I believe). But they are the only gems amongst an album which is largely a massive disappointment, something that tries to take the best of earlier 90s pop and make that what it aimed to be but produced instead something even worse.
I suppose that the stand out tracks make this seem even worse when taken as a whole album but the fact that Fever was so comprehensively enjoyable shows this up to be truly poor, and that the artist's intended reinvention was a seriously bad shout. Somehow she survived it to remain popular when many lesser artists would have faded after such a bad offering, so fair play to Kylie, but this is by far and away that worst I've heard from her.
Kylie can still turn out a truly good track and her record as a live entertainer is unquestionable; she may not be everyone's ideal artist but you can't deny the facts. But it's albums like this that, for me, reduce the reputation of female pop artists. A few stand outs and a load of fillers, and at worst I could suggest that the three stand-out tracks aren't even truly in the same style as the dross that fills the rest of the album, which suggests severe laziness on the parts of both artist and producer.
A miss. Sorry Kylie.
I'll start off by saying I'm a Minogue sisters fan, so I really tried to love BODY LANGUAGE.
But just because I'm a fan doesn't mean I'm going to throw in the words `Stunning' and `must own' just because the Minogue name is stamped on the cover. In fact the term `grower' may be too generous for some of the tracks.
Too be totally honest I think the only reason BODY LANGUAGE was made was to crack the US market to cash in on the success of Fever over there.
All of the tracks have subtle R&B influences - which doesn't suit Kylie; There were no catchy sing-along tracks, no passion, no fun, just music-by-the-numbers. Too much thought went into the style and not the substance.
In fact, when it comes to the track list, apart from the singles `Slow', `Red Blooded Woman', and `Chocolate' (Only above average), I'm hard pushed to remember any of the songs.
I can remember `Obsession' & 'Loving Days' are also above average, though they don't yell hit. And I only remember `Secret (Take You Home)' for Kylie's `rapping'.
The rest of the album isn't bad; it's just boring which is just as disappointing for someone I used to admire so much.
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(On the other hand, the single b sides `Soul On Fie' & `Almost A Lover' have that Kylie passion in them. `City Games' is catchy, something you can sing along to. `Cruise Control' is blah).
The highly anticipated follow-up to her hugely successful, 'Fever', the 'Princess of Pop' crammed in load of RnB into this release, unfortunately to less success.
This album provides a turn in direction in the singers music, however, we all know what damage that did to the singers career in the nineties. On the other hand, her transition from pop to RnB on this specific release is quite refreshing.
The albums quality however, can be argued. The three singles, 'Slow', 'Chocolate' and 'Red Blooded Woman' are unsuprisingly the albums best features, apart from the CD cover, that is.
With many of the other tracks being pure fillers, and perhaps forgetful, there is some 'Kylie Gold' to, most of which is in the first half of the track list.
Although the album lacked the commercial appeal of her previous release, this album displays fine vocals, and a more sultry RnB good mood about it, that brings it near the top of the pile of the singers best releases. It is just a pity, that the track did not achieve greater heights, although that could be due to lack of promotion and limited singles.
Kylies 9th album relased back in 2003, this album is not a dissapointment,it once again showed Kylie Minogues versatility both in sound and style.
From more electronic sounding tracks like slow to the more sultry sounding chocolate this album offered everything and more.
This album didnt really provide that many commercial/chart successes for Kylie Minogue but I feel it was and still is a top class album.
The tracklisting for the album I have is as follows:
2. Still Standing
3. Secret (Take You Home)
5. Sweet Music
6. Red Blooded Woman
9. I Feel For You
11. Loving Days
12. After Dark
My favourite song on this album has to be red blooded woman,this is because it was kind of upbeat yet sultry and smooth all at the same time.
This is definately one of Kylies most creative sounding albums,each track makes you feel different and for me that really just makes the whole album even better
Following Kylie's phenomenally successful Fever era, she could have easily spat out a carbon copy of that album, but instead she chose a completely new direction of sexy, less uptempo electro-pop.
And for the album itself...
1. SLOW: The album opens with the lead single, which was a UK #1 and I'm guessing you should know this one. A very subtle electronic vibe with sexy, almost spoken vocals from Miss Minogue.
2. STILL STANDING: This is a cover of a demo by little known pop artist Alexis Strum, and is a good example of the album's overall sound. It's a slice of sexy electronica with swirling synths, plenty of classic Kylie sass as she exclaims "guess who's back on top".
3. SECRET (TAKE YOU HOME): This is my absolute favourite track on the album, and I feel they really missed a trick by not releasing it as a single. It's a catchy, fun, pure pop track which is seductive and Kylie even attempts a rap in it, which isn't too bad.
4. PROMISES: This is almosta hybrid between electro-pop and an influence of urban-pop, which works quite well. I do like this track, but it can get repetitive and irritate me slightly at times.
5. SWEET MUSIC: This is an insanely catchy track, it has a sexy and hypnotic bassline, and is riddled with double entendres throughout, cleverly straddling a double meaning between making music and sexual undertones.
6. RED BLOODED WOMAN: This was the album's second single and I'm guessing you should know this one too as it was well known at the time. It's a sort of R&Pop track with catchy hooks and a good chorus. I liked it a lot at the time it was released but it hasn't stood the test of time for me at all, it has no lasting appeal.
7. CHOCOLATE: This was the album's third and final single, and is my second favourite track on the album. It's a slow and very sexy track, and I really loved the video to this.
8. OBSESSION: This is almost like 'Promises'' sister track, except I prefer this.
9. I FEEL FOR YOU: This is the album's first true 'filler' track, it has a nice funk sound but lacks substance and falls flat in every other way.
10. SOMEDAY: And this is the album's other filler track, and without a doubt the worst song on here. It's pure nothingness, I can't fathom how this was included on the album when she had a few decent B-Sides from the era such as 'City Games', 'Almost A Lover' and 'Cruise Control'.
11. LOVING DAYS: This is almost in ballad territory, and has a trip-pop sounding beat. Kylie's vocals are on top form in this song, and it is quite emotive and lyrically coherent.
12. AFTER DARK: This is another very sexy, seductive song. Cathy Dennis had a hand in this track, it's another song with an R&Pop type sound and is a good closer to the album I think.
If you're expecting another Fever, you may be disappointed by this album, but it's a solid album with those two filler tracks excepted. I respect that Kylie took a risk and didn't just follow her successful Fever era with a carbon copy, although it was nowhere near as successful and arguably not as good, I adore this album.
For Kylie Minogue, each new album brings a new direction. Its the main thing that prevents her from becoming stale. Her voice is nothing outstanding, and she's neither controversial nor outspoken. Most of her lyrics are contributions from men who want to use her as a muse for their work, and she quite happily smiles at the compliment whilst reaping the rewards of their toil.
Body Language is a surprising entry to the Minogue catalogue though. On the back of an album that was not only a safe predictable option, but one that found her in a position of security both critically and commercially. So to completely throw the old mix out, and chuck in a new mix is somewhat concerning and yet oddly admirable.
The album opens with Slow, a slick and stripped back song that has Kylie writhing about in the video singing about slow dancing. The unusual sound calls to mind the sound effects used on early console games. Its a risky move, considering Slow was the lead single from the album. But it paid off double, as it gave Kylie her seventh UK number 1, and also showed that she wasn't prepared to rest on her laurels after a hugely successful previous album.
As the album progresses, Kylie samples and alludes to the many sounds that she grew up with. Still Standing is a slicked up reference to the disco era, with its lyrics calling to mind Tina Charles "I Love To Love". The excellent Secret (Take You Home) gears towards an r'n'b sound, sampling early 80s electro whilst remaining modern and interesting. Promises is the most Kylie-esqe that the album gets, and for its sins, is the least interesting. A low key chorus and a stagnant melody are as good as it gets.
Sweet Music brings some life back to the album, with Kylie whispering sweet nothings about the recording process. Well, her work has always come first, so its no surprise to hear her writhing about talking of her high hats and the fairlights on the track. Its a beat that is remiscent of early Prince, another one of Kylie's idols.
Red Blooded Woman is the most urban Kylie gets, and whilst boasting a fairly generic backdrop, is convincing enough to enjoy. Chocolate is the albums hidden gem. A subtle and low key ballad with Kylie whispering her way through a sexy chorus which likens sweet love to eating chocolate. An unusual sentiment in a pop song.
Obsession is a turgid affair though, which appears to play out Kylie's irritation about being a figure of fantasy. Its one of those songs that has the listener cringing and thinking "if you dont like i, why are you in this profession". A minor quibble thusfar though.
The latter end of the album does take a slight downturn, as Kylie abandons the vibes for something slightly less funky. I Feel For You plays with musical sounds as well as weather effects and has Kylie singing against her backing vocalists. The laid back Someday has Kylie singing alongside Green Gartside of Scritti Politti song. Its a song that just keeps the album ticking along, but doesn't really add any value to it.
The last two tracks are the delightful ballad Loving Days, a song that is quite haunting and also boasts one of the rare excellent vocals from Kylie, and the soulful After Dark.
Body Language is such a deviation from Kylie's previous work, its not hard to see why the general public didn't respond well to it. With only quarter of the sales that previous release Fever managed to acquire, this album suffered for its art. Whereas Fever basked in its generic uplifting dance sound, Body Language is a subtle affair that chooses to be about the music and not the celebrity that is Kylie.
Body Language often experiments in modern urban sounds, as well as the electro era of the 80s. Kylie is most comfortable when referencing the music that she grew up with, and has often cited that many of her untapped influences are from the Gary Newman, Human League, Adam and the Ants era. So its nice that Body Language finally allows her to borrow from that, and fit her personality around her music, as opposed to the other way around.
Lyrically, Kylie has some input to the album, but this time around opts for the best material rather than choosing her own songs out of vanity. Its questionable, in all honesty, as to how much input she actually has, but if her future albums are as tasty as this then who is complaining. As for her voice, well, she has honed it to perfection in her ripe old age, but there are times where it is just too controlled and breathy. I long to hear Kylie belt out a song in the same way that she did on the recent Jools Holland special, but for now, Body Language is the best of her recent albums.
2003 saw Kylie Minogue launch her ninth studio album and the follow up to 2001's worldwide hit 'Fever', starting with the lead single 'Slow', a sexy, sultry electro track which blended simplicity with breathy vocals to grab the number one spot in the UK. 'Body Language' followed shortly afterwards, supported by a classy, Bardot-inspired image to go with it of bleached hair and corsets, releasing to mixed reviews.
Swapping her inviting, infectious pop beats for more smooth electro and RnB sound instead, the album was not 'Fever' part two as a lot of people had hoped for and perhaps even expected, with Minogue taking a different direction, re-inventing herself once more. Adopting a new vocal style, higher and more breathy, putting aside the more powerful tones of 'Fever' before it, the blend of them and the different music style gave 'Body Language' a new and rather unexpected sound, which the public opinion seemed divided on, and even the fans were divided on it, with some not liking the new, somewhat Americanised sound.
Despite the mixed reviews, it led the way with a number one and charted highly in both the UK and Australia. Because of the hype after such a huge album from her two years earlier with 'Fever', it was always going to be an uphill struggle to achieve the same levels without someone complaining it wasn't good enough. However, Minogue has put plenty of herself into the album, lyrically and emotionally, covering broken promises, break ups and finding new love amongst other things. There's plenty to like, with the RnB edged 'Red Blooded Woman' being the second single, incorporating a throbbing beat, Timberlake-style sound and semi-spoken lyrics. It delivered attitude and showed Kylie really can cut it in every market, released with a sexy, bum-wiggling video, reaching number five in the UK.
Chocolate made the third and final single, not enjoying hugely impressive sales, with very light vocals, it really wasn't very "Kylie", but still made top ten in the UK. The video saw Minogue spending two weeks learning ballet and dancing expertly in the video. The album has plenty of other treats, with 'Sweet Music', B-side to the lead single 'Slow', deserving to be a single really with its beat and bass line, feeling positively groovy, high-tempo and sporting catchy lyrics. 'Promises', 'Someday' and 'Loving Days' all delved more into her personal issues, with the latter making for a lovely, sensual tune that just glides along, capturing the mood of the lyrics perfectly. 'Secret' and 'Obsession' offered treats for people that wanted Kylie doing a little modern RnB style music, along with the hit 'Red Blooded Woman', and change the sound of the album up to break away from the pop mould.
Whilst 'Body Language' didn't offer the same highs as 'Fever', and has a couple of songs that you feel could've been much improved or dropped for another, it still had plenty to offer and gave an electro sound not heard since her nineties DeConstruction albums 'Kylie Minogue' and 'Impossible Princess', and changed her style again, rather than just lazily following on from 'Fever'. Though not the chart smashing album people built it up to be from nothing, it's still well worth a listen, particularly if any of the singles particularly grabbed you.
One thing i love about Kylie is that she can try different things.
So i recommend this album, its fab.
Available from Amazon. £7.49
After the massive international success of 'Fever' Kylie was sure to offer something different and wonderful for her fans across all genres. In 2003 we were presented with the marvelous new album 'Body Language' that again saw Minogue take a new direction with her music.
Over the years Kylie has slowly gained musical credibility with her music as more people seem to be taking her music seriously! There was a massive launch for this album costing over £1 Million. There were people from all parts of the celebrity world invited along as well as some exclusive tickets for the fans! The show lasted just over an hour and was well received by fans and music critics alike. The album is by far the most experimental that Kylie has recorded to date and we see Kylie thrilling us with Electro Pop, Pop, R & B and a little bit hip hop!
Slow - The opening track is the hypnotic Number 1 single 'Slow', this track gave kylie her 7th number 1 and saw her span her number 1's across the 80's, 90's and the 00's. Only one other person has achieved this and that being Madonna. In a time where the charts were in decline Kylie released something different which made it easy for her to get to number 1 with this single. With its hypnotic base line and 80' electro pop feel Kylie not only sings this song with ease but sounds super sexy! Lots of promotional work was done with this single and gave many people in Edinburgh the chance to see this performed live at the European MTV Awards. - 9/10
Still Standing - This is a brilliant track, funky and excellent vocals from Kylie. The track is again electro pop with a more modern feel to it! This would have made a strong single from the album as again it has a very attractive base line to it that gets you hooked to this track quite easily! The only thing about this track is there is not much singing as there is a big long gap in the middle filled with what seems like experiments with synthesisers. 8/10
Secret I Take You Home! - Again this is an excellent track seeing Kylie giving a funky rap throughout the song! A strong base line all the way through and flawless vocals! this is probably one of the more upbeat tracks on the album and is really hip hop influenced. I could imagine the video to this song being very sexy! In this song Kylie is comparing catching the guy she wants to a car race and I could see her driving a very fast car in the video chasing the man of her dreams! Or is my imagination very wild? 9/10
Promises - This is a very poppy song and is something you would expect on a Kylie album of past! It is a good filler on this album as it does show that Kylie is still fabulous at pop songs and her vocals have grown as she has. A very catchy chorus that has you singing along after a few listens the way a good pop song should! I really like this song and again would like to have seen this into a single! Towards the end of this song it takes a a different direction by almost slowing into a ballad and this works really well as it flawlessly picks up pace when moving back into the chorus! 8/10
Sweet Music - Another funky base line and hypnotic vocals with a very sultry feel to it! Kylie's vocals are very sexy throughout the verses of this song! The chorus is very funky with a brilliant beat to it and a real edge to it! This a mixture of brilliant pop and R & B! A song that again would do well for an American market. 8/10
Red Blooded Woman - This was the second single from the album and made an impressive chart debut at number 5. This is my favourite song from the album and is a fine example of how Kylie can mix brilliant pop with R & B. The video that accompanies this song is perfect hot summers day stuck in a traffic jam with the windows down and no air! Kylie looks amazing in this video and not a sign of her bum on show any where. With sexy vocals throughout we see Kylie sounding like we have not heard on any other track or any other album! This red blooded woman does not want to hang around she just wants to get down! I knew she was singing this to me! 10/10
Chocolate - This was the third and last single taken from Body Language and is certainly a grower and it impressive chart position at number 6! This is a lovely ballad and a beatiful video to accompany it and showing of more of Kylie's hidden talents as she does a ballet routine. This is a another hypnotic track with trancy vocals from Kylie. This is Kylie's favourite song from the album, it took her a long time to get this song exactly the way she wanted it and was recorded over a couple of days in a very hot studio during the summer of 2003 in London! 8/10
Obsession - This song is R & B with a nice poppy chorus. It is not one of the stronger songs of the album though Kylie's vocals thorughout the chorus are impressive. The verses are almost just talking and though it mixes well with the chorus it is not my cup of tea. A bit bland for me! 6/10
I Feel For You - Starts with a crack of thunder and a heavy down pour of rain that slowly moves into birds singing and then a very cool rhythmic base line! This is a very different direction for Kylie and sees her vocals take on a very different sexy direction as it almost sounds husky to the rhythmic beat! The chorus takes on another direction as it picks up pace from the verses. This song is catchy but takes time to grow on you as it is not as infectious as other tracks! Some really high notes are hit from Kylie and there are some very interesting backing vocals from what sounds like a cool soul diva! 7/10
Someday - Another ballad that I have to say is not quite so impressive, although it is sexy it does not come too much! It is Kylie singing with very slow sexy vocals and really that is about it for this track. There is again an interesting male backing vocal arrangement that adds a little character to the song. 6/10
Loving Days - I love this song from the album and is a a nice hypnotic yet haunting vocal! It is superb and whilst sounding like a ballad is also a classic ballad! With a fantastic base line not unlike that of 'The Crying Game' from the 'Fever' Tour. This is another of the stronger tracks from the album and after the last few tracks not making much of an impression the close to the album picks up again and before moving on to the final track you are brought back to the sheer talent that Kylie has with her vocal range! This could have been an excellent single! 9/10
After Dark - Another song that sees Kylie really slowing her vocals down throughout the verses and then using them strongly to show off the strong chorus. R & B inpsired and an ok close to the album. This should maybe have been swapped around with loving days to ensyre the album finished on a high but that could just be my musical preference as the song itself is a strong song just not as poppy as I would like! 8/10
Overall the album is very good and kept me busy for much of my holiday when it was intitially released and is one of the Kylie albums I probably listen to most! It was not as well received as 'Fever' and I believe that has always been the same with Kylie she brings out a couple of classic pop albums then as she tried to show her creative side with some excellent work she always seems to lose fans along the way! Her fans don't seem to want her doing anything other than pop which I think is a shame as she has amazing talents at all different styles of music! I give this album overall 8/10.
With ''Body Language'' Kylie, adapts a more mature and 'R' and 'B' and more hip offering of pop. Kylie's previous album ''Fever'' was pure pop and very catchy but ''Body Language'' is very much catchy as well, but it is quite different from all her albums to date. This is not usual, pure and simple pop - most tracks are electro pop, some are hip hop, most are 'R' and 'B' and the rare track is pure pop. This is an addition to the album, as it is an album with a varied number of musical genres.
''Slow'' is the first single, off this album. The track was originally not well recieved, as it was a different style to the music Kylie, has released previously. However, this was a hit in the singles chart. This song is very gentle pop, with slight electronic effect added on. Very catchy as well.
''Still Standing'' is again another electro pop track, this is stunnigly catchy. The music backing is very much hip hop, and electro but it is essentially a pop track. A very good listen.
''Secret (Take You Home)'' is a very nice and mellow track. This track is far more pure pop than most tracks on this album. Their is a slight bit of electronic pop mixed in as well, but this is very catchy. Kylie also raps in this, which sounds really good. The rap is very fast, and the music backing matches. Very good production on this track and very catchy.
''Promises'' is a very nice and gentle ballad and pop track. Very nicely mixed and produced again. Really good listening, again very poppy and catchy. The verses are well written, the chorus is good as well. Very well written and excellent music backing.
''Sweet Music'' is a hip hop track, and quite poppy as well. The lyrics are really nice and simple, the song is very catchy and 'R' and 'B'. Provides great listening.
''Red Blooded Woman'' is a very nice, loud, essentially pop track. This was released as the second track off this album. It is very well written, the production on this track is amazing. Again, this is very catchy. It is quite poppy track and the chorus is great and in line with the music backing. Very catchy, again well produced.
''Chocolate'' is a very nice and gentle pop ballad. The track is nice and mellow and was released as the third track off the back off this album. This track stands out on this album. Quite a good track. Very catchy, excellent chorus.
''Obession'' is a rock and pop track. The track is generally very fast. The chorus and verses are very well written, very fast and great listening.
''I Feel For You'' is a nice track. I like the music backing to this, a very loud piano, gentle drums and horns and loud backing vocals and music make this an excellent track. Very well written once again, and shows the extent of Kylie's voice.
''Someday'' is a pop ballad. Very nice and gentle. It is catchy, will make you sway from side to side. Very nice listening, great production.
''Loving Days'' is very much a pop track. The musical backing to this track is really good. It has a nice and gentle music backing beat. The drums, and electronic piano in the background is in tune with the song and vocals on the track. This track is essentially brilliant. The production on this track is outstanding.
''After Dark'' is a hip hop, 'R' and 'B', rock and pop track. It is mellow, nice and catchy ballad. The song is quite soft, it is very well written - the lyrics are great. I like the chorus as it is catchy and the verses are catchy as well. The track shows the extent of Kylie's vocals. Very nice listening.
This is in overall terms, essentially an excellent album. It shows lyrically that Kylie is a good writer and singer. The song's are very diverse and the variation of tracks included is really good. Every track is catchy. This will make you sway from side to side, dance, sing and tap your feet to it - this is Outstanding.
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Skip this first bit to be able to read the review with capital letters intact. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. Kylie Minogue was born in Australia in 1968, and is not the only person in her family to enter into the world of showbusiness. Her sister Dannii, has also appeared in television programmes and has her own career as a successful solo artist. Kylie had always wanted to enter the world of show business and realised her dream when offered a part in her teens in the Australian soap ?Skyways?. Appearances in ?The Sullivans? and ?The Henderson Kids?, lead to her most famous soap role, in the soap ?Neighbours? as Charlene. Rumours abounded that her love interest, played by Jason Donovan, had spilled over into her real life, and the pair did nothing to quell them when releasing the awful song ?Especially for you?, after leaving the show. Kylie signed for Stock, Aitken and Waterman, and released a succession of pop singles, the first, ?Locomotion? being issued in 1987. Her first album sold over 5 million copies and it looked as though Kylie had found her niche in the music industry. However, the fickle public soon became bored with her releases, and Kylie moved her attention to films, starring in ?The Delinquents?, which earned her rave reviews. After taking a break, Kylie re-emerged in 1994, with an album entitled simply ?Kylie Minogue?, after moving on from SAW, and signing for the dance label ?Deconstruction?. However, her next single release bombed by her standards, peaking at only No. 11 in the British charts. She starred in the blockbuster film ?Streetfighter?, so all was not lost in terms of earnings that year. In 2000, Kylie again re-invented herself, and became a pop diva, after the release of ?Spinning Around?. Dressed in skimpy outfits, Kylie took the world by storm, and the music press could not get enough of her. ?I can?t get you out of my head?, released in 2001, made Kylie?s mark, and it looked as though she had finally cracked the music market. Kylie has now released her ninth album, entitled ?Body Language?, whic
h can be purchased for £8.99 from CD Wow. ?Slow? begins with a very sexy drum beat, before the introduction of Kylie?s vocals and keyboards. The track oozes sex, and has a disco beat, slightly reminiscent of a Donna Summer collaboration, interspersed with Kylie?s almost orgasm induced vocals. Imagine dancing in a night club, and singing the words to this song to your partner??.The song has been released as a single, and the accompanying video only adds to the sexual connotation. Brilliant. The introduction to ?Still standing? almost makes the listener believe that this is indeed a Human League or Gary Numan album. A strong futuristic beat, makes up for the slightly drab vocals, but Kylie manages to deliver them powerfully, and invites her partner to remember the time that they first met, reminiscing over the explosive charges felt between the two. Distorted backing vocals give the song a robotic feel. ?Secret? again starts with keyboards, giving a futuristic influence. Kylie?s vocals in this track are moody and the lyrics leave the listener imagining a motor cycle, travelling at high speeds, with Kylie delivering her lines, with hair streaming in the wind. Kylie asserts that she enjoys living in the fast lane, and lives for parties and a good time. A great dance track. ?Promises? uses instruments to create an oriental feel to the beginning of the track, and Kylie?s vocals are quiet in this track, and although the track still has a fast beat, the lyrics show the pain from a previous relationship, and question the promises made that were subsequently broken. Kylie manages to sound like a small, lost schoolgirl in the song, which has a catchy beat and will have toes tapping to the rhythm. Crashing and scratching heralds the beginning of ?Sweet Music? which has an irresistible bass beat, and some wonderful musical effects. Kylie?s voice sounds breathy in the song, and she conveys her feelings for moving to the beat of music i
n general. However, this track to me tells of her feelings for the events that are going to take place after the music has stopped. The vocals in the track are completely different to any of her other tracks, and she manages to sound like a bouncy little pop artist. ?Red Blooded Woman? begins with subdued vocals laid over synthesizers and drums. The track is very fast and the music is the master, rather than the vocals. The music builds into a crescendo and again the song is laden with sexual overtones, which Kylie does so well. The track does have a lull in the middle, where the beat slows, before building again into a dance track. ?Chocolate? begins with an echoing keyboard beat, and distorted voices. Again, Kylie?s voice has changed completely, this time into an almost innocent teenager, but as one can imagine from the title, this track again has strong sexual overtones and the similarities between chocolate and sex addiction are littered throughout the song. A fantastic track, and my favourite on the album. ?if love were human it would know me in a lost space come and show me, hold me and control me and then melt me slowly down, like chocolate? Thunder and lightning sound effects begin ?I feel for you? which has a very fast funk beat, and some almost cartoon-like backing vocals. Kylie?s voice in this track had real depth, and the song tells of the feelings that make a person almost want to explode when being in the company of a person they love. The title of the song is sung in a breathy child-like way, and adds atmosphere to a wonderful dance track. ?Someday? has a very atmospheric musical introduction, and is the slowest track on the album. The vocals have been mixed to sound almost tinny, and the song tells of a relationship break down and reminds us all how things can often go wrong. Full of weird and wonderful mixing and effects, this track is another very strong offering. ?Loving Days? has a club b
eat, although a slow track, and begins with violins and a softly brushed drum. Another song of relationships, although this deals with a loving fulfilled partnership and is Kylie at her sultry, inviting best. The use of orchestral instruments in the track add atmosphere, and makes this a ballad worthy on inclusion on an already faultless album. The final track ?After Dark? ends the album with a funky song, with Kylie?s vocals turning once more to those laden with inviting, sexy tones. This track seems to have a Liberty X influence, and some of the lyrics sound very similar to those on ?Just a Little?, although Kylie delivers them in her own inimitable style. A fantastic final track, which completes a very strong track listing. ?After dark, all night long, Dusk till dawn, I wanna make some honey, Give me that touch, give me the night, Give me that urge that makes me feel right? The album has somewhat surprised me. There is a not a weak track in sight, and this diminuitive, elfin like girl has re-affirmed her place at top of the tree, mainly due to constant hard work, and re-inventing her style, and delivery of her vocals With a career spanning fifteen years in music, and an amazing twenty in television, Kylie is now an old-hand at gauging what the public want, and she now seems to have them eating out of the palm of her hand. Forget pop princess, and think sex siren. Move over Madonna, the Australian nymphette is after your crown. Go and buy it. You won?t be disappointed.