Kylie Minogue

When I think of all the samples that are brazenly used in the PWL albums, I genuinely wonder how Pete got away with it (okay, sampling in pop and the legal process around it was still in its infancy) even as it's so brazenly done by Lets Get To It. And I bet you Pete would come down on you like a ton of bricks if you sampled him and he found out. He wouldn't be Mr Pop Anarchist of the Music Industry then.
 
When I think of all the samples that are brazenly used in the PWL albums, I genuinely wonder how Pete got away with it (okay, sampling in pop and the legal process around it was still in its infancy) even as it's so brazenly done by Lets Get To It. And I bet you Pete would come down on you like a ton of bricks if you sampled him and he found out. He wouldn't be Mr Pop Anarchist of the Music Industry then.

Ironically he did just that with M/A/R/R/S in an effort to prevent Never Gonna Give You Up from being toppled from #1.
 
When I think of all the samples that are brazenly used in the PWL albums, I genuinely wonder how Pete got away with it (okay, sampling in pop and the legal process around it was still in its infancy) even as it's so brazenly done by Lets Get To It. And I bet you Pete would come down on you like a ton of bricks if you sampled him and he found out. He wouldn't be Mr Pop Anarchist of the Music Industry then.
The biggest shock sample being of course Janet Jackson's iconic spoken "I hope you enjoy this as much as I do" from Control on Too Much Of A Good Thing.
 
Since we're discussing KM94, I miss Kylie utilizing her lower register like she did on KM94.
To be honest, I think her vocals on KM94 sound a bit forced. It's especially noticeable in Dangerous Game for example where it sounds like she's pushing down her larynx so her voice sounds deeper.
In my opinion, she sounds the most balanced on Light Years, but I do appreciate how she is able to transport so much emotion and many different nuances with her voice today.
 
Reading mid-90s back issues of Music Week and it seems Virgin Radio might be due a slight reprieve - apparently they were the only radio station who playlisted "Where the Wild Roses Grow" and almost every single UK radio play of the track (apart from those plays on a chart show where they had to play it) was on Virgin.
 
The way Kylie's music was snubbed by radio even back in the mid to late 90s was just wrong.

I've always felt that it wasn't Kylie per se, it was Stock Aitken Waterman that was being held up as being the WORST music of the 1980s. The knives were out for them as much as anyone else associated with that decade, until the early 2000's when people started to get over their collective distance from that time.
 
I've always felt that it wasn't Kylie per se, it was Stock Aitken Waterman that was being held up as being the WORST music of the 1980s. The knives were out for them as much as anyone else associated with that decade, until the early 2000's when people started to get over their collective distance from that time.
And she really was the poster child for them so she got the main share of the criticism
 
I’m pretty sure it was said it was contractual that any Pharrell song had to be a single? It’s definitely not in the best crop of the tracks but it’s really not as bad as everyone makes out. Any and all criticism of Beautiful, I can understand.
"Beautiful" is the one track to me that just feels completely inessential and bonus-trackish. Leave it on Enrique's album, Min.
 

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