Discussion in 'Comeback corner' started by Weezerfan, Aug 14, 2008.
Imagine the SCENES if that version followed Shocked and led the LGTI campaign.
I don’t think Stock/Waterman had it in them for an album with songs like Closer / Do You Dare. They’re great b-sides but they sound incomplete.
They should have sent Kylie out to work with different producers for the fourth album.
I’d have loved an album of ‘Closer’ and ‘Do You Dare’ type songs even though I understand why that didn’t happen. Those were such a surprise when I was first getting into Kylie and exploring each of her albums.
And Keep On Pumpin’ It. The rave trilogy.
Let's Get To It, really is a great album and doesn't deserve the "honour" of being Kylie's least successful studio album ever and being the sole one to miss top 10 in both Australia and the UK.
It is strange that they let her work with other producers for Rhythm Of Love, but for the next album, it was strictly a SAW affair. It must've felt like a regression.
I can imagine that was Pete's way of trying to reign her back in. They'd gave her an inch on the last album and she (expertly) took a four-music-videos-mile. I suspect that Pete was exactly like my old boss, full of ego and embellished stories that always centre him, and the second he thinks you're getting too professionally chummy with outsiders or anyone who can offer you other options, he throws the palace gates up and makes maneuvers to make everything difficult (for no real reason, other than his ego).
I believe PWL ended up regretting Let's Get To It after it flopped. Not surprising as initially Kylie was only signed with them for 3 albums in the first place, so they didn't need to even make it in the first place.
Wasn't the deal amended to five-albums which Greatest Hits fulfilled?
Not too sure, also heard rumours there was going to be a earlier greatest hits album prior in 1991 before the deal was agreed to sign on for Let's Get To It. The whole backstory at the end of Kylie's time with PWL can be confusing at times.
A GH at that time might have had a decent buzz about it. Let's get... totally deflated the buzz that built up around her in the Rhythm of love era and had they led a Greatest hits with a few more bangers it could have smashed and put her in the place ready to move on to new pastures.
Yes, whilst the 1992 Greatest Hits did well enough and made #1, it did also drop out of the charts relatively quickly. By late Summer 1992, there's no denying it was time for Kylie to move on to elsewhere.
I like the slightly reworked Shocked+ medley she did on the For You, For Me Tour even more. And, bonus, we didn't get that atrocious wig. That let-me-talk-to-the-manager (because I just got struck by lightning) wig is something else. For such a stylish woman, she has some really questionable tour looks.
I believe she originally had a 3-album deal, which ended with Rhythm of Love. Kylie then resigned with them for a 2-album deal, but the recording process for Let's Get to It was "a nightmare," so they decided to release a Greatest Hits compilation to fulfill the second album and part ways.
I have tried with Lets Get To It. I really have, but Finer Feelings aside I just cannot. Definately my lowest ranked Kylie album easily.
The “Live in New York” version of it is absolutely sublime, and probably one of the most rinsed Kylie tracks of my life, I literally know every second of it
I love the artwork of LGTI. She looks stunning.
Let's Get To It is her best PWL album and I feel sorry for those who don't see it.
Released 28 years ago today:
In a way, follows on nicely from the sounds of Let's Get It but updated away from the sounds of PWL. Also makes for as nice companion piece alongside Madonna's Bedtime Stories too in my view.
The original deal was 3 albums and a greatest hits , they went into the studio to record a few tracks to add onto the grestest hits but convinced kylie to do one more album with them , Terry managed to negotiate a deal highly in kylies favour which was said to have cost them more than the previous 3 albums, I also believe this is where Terry locked into place kylie getting all her back catalogue, and pwl wanted to be in charge of production but kylie was in charge of creative aspects of let's get to it
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