Our Kylie’s persona has shifted from girl-next-door to Impossible Princess to techno queen and Showgirl, and tonight she’s happy to bring most of them out for a dance, Last modified on Wed 6 Mar 2019 05.50 GMT. Australia’s favourite tinsel fairy returned to Sydney on Tuesday night with a show filled with fun, confetti cannons and oodles of adoration from all involved. Barnburning new recordings of a trio of songs that Springsteen wrote in the early 1970s, before the formation of the E Street Band in 1972, provide Letter to You’s most fascinating links to the past.
Eric Mason, Lulu’s theme for 1974’s The Man with the Golden Gun is a pale imitation of Shirley Bassey’s imitable Bond vocal turns. Minogue doesn’t have the vocal prowess to carry some of these songs—“Surrender” is a less sultry rendition of a song recorded by Tia Carrere a year earlier—but she admirably pushes her voice to its limits on the string-laden “Dangerous Game” and “Automatic Love.” The cautionary “Confide in Me,” with its hypnotic hook, Middle Eastern strings, and ominous guitar riff, calls for a sensual and understated performance—and Minogue delivers. It also doesn’t possess the qualities audiences would soon come to recognize in Bond theme songs, with a sound more in the romantic vein of Frank Sinatra than in the adventure-oriented vein of, say, Tom Jones.
Too many of the songs on Positions, however, rely on the same midtempo trap-pop that populated Grande’s previous two efforts, particularly Thank U, Next. Both his recent autobiography, Born to Run, and his hit Broadway show have demonstrated that Springsteen in a self-reflective mode can be highly effective and deeply moving. On her final album for PWL Records, Minogue continued to peel herself away from the SAW hit factory that helped make her a star. Letter to You isn’t exactly classic Springsteen, and it isn’t even the best studio album he’s made in the last decade—though I know most don’t share my affinity for 2012’s Wrecking Ball. Editor’s Note: Listen to our Bond Theme playlist on Spotify. As a result, their ice-cold beats melted into a lugubrious, lukewarm pudding (at under an hour, it still feels almost twice as long as janet. Then, after she bids the crowd a very heartfelt farewell, she closes the show with her latest hit Dancing. Golden stands alongside her classic records; in a world of disposable music, Kylie’s return is welcome and shows how slick, smart pop music should be done. The Nashville-inspired Golden, whose title commemorates Minogue’s impending 50th birthday, is the singer’s most personal album since Impossible Princess. The songs throughout aren’t quite as immediate as Ty Dolla’s past work, and some of the slower jams from the album’s latter half, like “Everywhere” or “Time Will Tell,” would be better placed between “Double R” and “Freak,” grating trap cuts made all the more so due to their back-to-back proximity. Adam Nayman’s Paul Thomas Anderson Masterworks Honors PTA’s Ambiguities.
Her latest album, albeit co-written, is probably her most personal to date, and saw her pack her bags for Nashville, giving her a subtle country-tinged sound that’s true to her roots. How do I breathe?/When you’re not here I’m suffocating”) and empty showcasing of Smith’s vocal range that have become the singer’s stock in trade, “Writing’s on the Wall” has no real hooks or interesting textures. Then famous in her native Australia as Charlene in the soap opera Neighbours, Minogue became an unlikely pop star when her cover of the 1962 hit “The Loco-Motion” became an unexpected international smash. If nothing else, Golden further bolsters Minogue’s reputation for taking risks—and artfully sets the stage for her inevitable disco comeback. Getting Into Knives does bear the distinction of being perhaps the most electric guitar-dominated Mountain Goats album to date. Songs like the Smashing Pumpkins-esque “Sorry” convey her fragility, buttressed by symphonic string arrangements and pounding drums. That said, this audience will love whatever she does and by the second song, everyone is on their feet bopping along to Get Outta My Way.
The band’s uniquely existential and observational approach to rock is, for the first time, beginning to wear thin. Interestingly, the object of Madam President’s affections is nowhere to be found in the clip—though she is seen walking five of her dogs across the snow-covered lawn of the White House. Sal Cinquemani, 20 Y.O. Slowbanger ‘Sincerely Yours’, meanwhile, she calls “a love letter” to her fans. Kylie Minogue‘s reinventions are the stuff of pop mythology; from ’80s soap star to national treasure via pop princess and indie rebel, she’s rarely stood still. But on the North Carolina-based band’s 19th album, Getting Into Knives, their work manages to feel simultaneously overproduced and under-thought. Curlicues of piano and acoustic guitar give way to swooning strings on the tender “Horen Sarrison,” an ode to Kristi’s real-life beau. Label: Columbia Release Date: October 23, 2020 Buy: Amazon. But Kylie Minogue’s biggest surprise is its midtempo material.
To celebrate, we’ve ranked all 24 theme songs, excluding the original “James Bond Theme” and the instrumental title song from 1969’s On Her Majesty’s Secret Service, both performed by the John Barry Orchestra. In the end, it’s a sugar rush worth the hangover. Label: Atlantic Release Date: October 23, 2020 Buy: Amazon. Her voice is soothing and pleasant, but ultimately the song’s greatest fault is that it simply doesn’t feel like a Bond song. The album has all the familiar hallmarks of the E Street Band’s signature sound. “Just give me them babies,” Grande quips on “34+35,” while “Nasty” sounds like a Janet Jackson sex jam as sung by Mariah Carey—that is, a lot of empty pillow talk and plentiful dog whistles. Then we settle in for a rush through her jukebox of hits: Better the Devil You Know, Confide in Me and In Your Eyes to begin with. Film. Kylie Minogue in concert in Sydney on 5 March 2019. This electro-country hoedown oozes fun and is awash with gorgeous details – especially in a post-chorus fill, where a goofy, trilling synth gives way to a muted “Whoop”, as though Kylie is tugging the reins on a skittish steed. There’s even space for a banjo on one of the singles, “Stop Me From Falling.” Ready or not, here comes country Kylie. Kylie Minogue: Golden review – yearning country reinvention Read more The classics keep coming – The One, Wouldn’t Change a Thing and All the Lovers – and the Golden tunes fit in seamlessly. All slashing guitars and shouted-to-the-rafters refrains, the song has all the makings of a classic E Street anthem. With the exception of countless confetti drops and a superb laser show, the gig was pared down in terms of Kylie’s previous theatrical spectaculars, which was no bad thing as she has never appeared more relaxed onstage. But while the album might be a purely derivative work, its period arrangements—all sweeping disco strings, Nile Rodgers-esque guitar licks, and indiscriminately deployed cowbell—are executed with aplomb. Now, all these years later, she’s more relaxed, more willing to let the dancers do the heavy lifting. Her attempt at a guttural low range is unlikely to unnerve a house cat, while her backing players try to revive the golden-age Bassey music with results that are quickly forgotten. Griffin has a beautiful, throaty croon that’s laidback and textured and needs none of the Auto-Tune that so many artists in the same lane count as essential.
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