Mar 15

KYLIE MINOGUE – “Spinning Around”

Popular101 comments • 6,720 views

#863, 1st July 2000

kyliespin Most comebacks risk being overshadowed by the past. To find its distinct identity, “Spinning Around” has to battle the future. The second phase of Kylie’s career pivots on one single, and we’re a year out from it, but the gravity of “Can’t Get You Out Of My Head” makes this nimble disco-pop track sound more a cautious herald than a triumphant return.

But in its moment, people looked very kindly on “Spinning Around”. The idea of a sophisticated, mildly indie-fied Kylie had proved more enticing than the commercial reality. For all the intrigue, risk and personal involvement of the singer as presented on Impossible Princess, the Kylie held in public affection was a cheerful pop performer, not an act prone to experiment. So Kylie presented “Spinning Around” as a rediscovery of core principles – an up-to-date execution of what Kylie fans had gone for in the first place. If a twelve year old had liked “I Should Be So Lucky”, then here was a song her twenty-four year old self could dance to on a Friday night with no irony or hesitation.

That’s a conservative impulse, but not a retro one – sounding like SAW was never on the cards. It’s also a more businesslike approach than the indie-Kylie years, a conscious affirmation of the brand values of Kylie, Inc. “Spinning Around” is smoothly on-trend, a confident glide around the disco revival’s boutique of sounds. For me, it comes to life when the Zapp-style vocoders arrive, with their ability to turn any rote lyric (”Baby baby baby… you know you like it like this”) into a burble of robot delight.

But this was always my problem with Kylie – her thin, pinched voice, present and unchanged on most of “Spinning Around”. I don’t find this a heinous single by any means, more a dreary, cautious one, whose success feels like a vote of confidence in Kylie Minogue in general, an affirmation that people still wanted a pop world with Kylie in it. That’s an achievement in itself, given that the music she arrived with – SAW’s aggressively brash pop – had taken such a mauling from fashion. But Kylie’s gift as a pop star – the point of her, even – was always how unusually likeable and straightforward she was. That had its downsides, as the cool and rather sniffy reception for Impossible Princess showed. But it also made her easy to forgive. “Spinning Around” was an ordinary single, but it did that job at least.



  1. 1
    Mark G on 26 Mar 2015 #

    Yes, the received wisdom had it that “Indie Kylie” was a massive mis-step and this single rescued her from obscurity. Which is massively unfair on her and the styles attempted. My opinion, for what it’s worth, is that the mistake was in moving to a ‘credible’ label that didn’t have the resources to spend on maintaining the visibility.

    “Confide In Me” missed out on the top spot by a hair, then after the label seemed to have cash flow problems, and by the time “Impossible Princess” came out the struggles caused the label to go under.

    The decision to rename the album in the wake of Princess Diana’s death seemed respectful in a business that regards all publicity as good publicity. I’d say that’s not so, but it certainly made the album easy to ignore.

    Oh, and if you can, check out the Bootmix of “Did it again” with “Baba O’Reilly”, in my opinion one of the best such mixes done back when they were plentiful.

  2. 2
    Tom on 26 Mar 2015 #

    We may be having issues with the “posting too fast” glitch again :(

  3. 3
    Mark M on 26 Mar 2015 #

    Oh, I like this one much more than you do, and (I think) more than any other 21st century Kylie track. I reckon it does the ‘hey, I’m back!’ thing niftily – I’ve always liked the ‘And did I forget to mention that I found a new direction/And it leads back to me?’ bit, especially. And her voice fits the song – it would be kind of alarming if belted out.

  4. 4
    Tom on 26 Mar 2015 #

    Yes, I think it’s quite well-liked – and the songwriter, Kara DioGuardi (who did it for Paula Abdul) is very well regarded too among yer 21st century pop followers. I just feel a bit blah about it, and KM in general.

  5. 5
    James BC on 26 Mar 2015 #

    This is worth more than 5 just for the classy/dreamy transition out of the first chorus. “The mistakes that I made…”

  6. 6
    mapman132 on 26 Mar 2015 #

    I never heard this before as it was never a hit in the US. It’s not especially exciting – seems mostly like an appetizer for the bunny bait to come, which was a hit in the US. I’ll be looking forward to that review. 6/10 for this.

    Also, can’t remember if “Confide In Me” was previously discussed, but I absolutely love that song. I had heard it on the UK Chart Attack radio show and was very disappointed, although not surprised, that it never charted in the US. I’m not even sure it was released here. Would’ve been 9/10 from me.

  7. 7
    JLucas on 26 Mar 2015 #

    Outside of Madonna’s many reinventions, I think Confide In Me possibly stands as the most well-executed pop star image shifts of its time. To leap from the SAW dregs she was peddling in 1991-92 (despite her diplomatic assertions that she couldn’t have asked for more success at the point when she left, she absolutely went an album too deep with them and the writing was on the wall) to something so grown up and sophisticated was a huge ask of her audience, and it’s still probably the coolest she’s ever sounded.

    The first DeConstruction album wasn’t a blockbuster, nor was it a Ray of Light style artistic triumph aside from the first two singles (I still don’t understand why Put Yourself In My Place wasn’t a much bigger hit) but it did well and gave her a post-80s sound that suited her.

    Impossible Princess was the point she went into her wilderness years, and while it certainly has its fans, I do think it was trying a bit too hard. The Manic Street Preachers have written well for women elsewhere, but Some Kind of Bliss just doesn’t work for me. It’s not a great Manic Street Preachers song, and aside from one of her stronger vocal performances it doesn’t really give Kylie much to work with. (The old Manic Street Preachers trick of a chorus that consists of a single repeated line is really evident here, and the song drags as a result). The Garbage-aping ‘Did It Again’ is even worse, although the spacey ‘Breathe’ is wonderful, as is Australia-only release and live favourite ‘Cowboy Style’.

    Cut to 2000 and Kylie’s back on a major label and ready to be a pop star again. Spinning Around is a fairly slight number, there’s no question of that. Originally written for Paula Abdul, if the US star had kept hold of it I can’t imagine it would have done much at all, although she is pretty much Kylie’s US equivalent so maybe the narrative would have worked in a similar way.

    Because really, Spinning Around is all about the context. “Did I forget to mention that I found a new direction / and it leads back to me”. It’s a celebratory line that anyone can relate to, but it also works perfectly to introduce the next chapter in the Kylie Minogue story. Throw in a much-celebrated pair of golden hotpants and you have the perfect storm for a comeback hit that only the most churlish anti-pop bore could begrudge.


  8. 8
    lockedintheattic on 26 Mar 2015 #

    The dullest of Kylie’s number ones, I never liked it then and like it even less by now. Not sure I can even find anything interesting to say about it – it just feels like dreary disco-lite by numbers. Always thought the dreamy europop follow-up (On a night like this) was infinitely superior but that just added to her long list of near-misses.

  9. 9
    Izzy on 26 Mar 2015 #

    Confide In Me is wonderful alright. It bowled me over in my deepest indie years; I always assumed its appeal would have faded a little once I stopped living in a world so grey but no, every time I dig it out it bowls me over again.

    In my mind it’s paired with Bjork’s Play Dead, which is a decent record but in truth gets nowhere near scaling the same heights. The only weird misstep is the cartoon-strip video, when some Third Man vibes were surely needed. But I even like that now, so (9; 7 for Spinning Around)

  10. 10
    Mark G on 26 Mar 2015 #

    I’ll admit to buying “Confide in me”, but mainly for the b-sides – covers of “If you don’t love me” Prefab Sprout, and .. um..

  11. 11
    lmm on 26 Mar 2015 #

    Oddly enough I remember this sounding retro at the time – with those lyrics and the vocoder there’s something of the ’80s to it, at least in my head.

  12. 12
    Tom on 26 Mar 2015 #

    #10 haha if I ever knew she covered that I’d forgotten.

    “Confide In Me” is great, and honestly I’d forgotten about it and its album too, anachronistically mashing them up together with Impossible Princess for review purposes. One of her best singles, definitely.

  13. 13
    Andrew on 26 Mar 2015 #

    #7 bang on, context is everything with ‘Spinning Around’.

    The song itself is unremarkable. Not without its charms, but ultimately unexciting. It’s certainly Kylie’s conviction and the narrative of her return to pop (with the record-buying public’s air of goodwill) that sells it.

    If I hear it unawares (on the radio, in ‘the club’) the intro usually makes me think “oh. Oh, go on then”, rather than any great sense of anticipation, but I wouldn’t turn it off.

    The melodramatic Eurojoy of ‘On a Night Like This’ is another story altogether; a shame that we don’t meet it here. Light Years is my favourite of Kylie’s albums.

  14. 14
    StringBeanJohn82 on 26 Mar 2015 #

    I’m finding it hard to see the criticism for this one. It feels like a proper pop song with a lovely warm production, and a can’t-be-anyone-but-Kylie vocal. It was also, I seem to recall, pretty popular in the provincial nightspots I was beginning to frequent at the time. To me it has a pleasing unhurried laidbackness to the beat and melody, and as others have mentioned some memorable one liners (‘now matter how I take it there’s no way I’m gonna fake it – cos it’s gotta be real’). I also enjoy the coda part of the song a lot (‘I’m not the same, Oo-oh’).

    That said, I really can’t think of many Kylie singles to which I wouldn’t score highly – with the possible exception of Madonna (and personally I can’t find much to like in her post-Like A Virgin career), I can’t think of a more consistent performer at this end of the top 40.

  15. 15
    JLucas on 26 Mar 2015 #

    The other Confide In Me b-side was a fairly faithful cover of Nothing Can Stop Us by Saint Etienne. I wish she’d done more work with Saint Etienne around this time, as I can imagine their pop sensibilities would have been an excellent fit for her voice and image.


  16. 16
    weej on 26 Mar 2015 #

    This song is simply the sound of every bar and every other public space in the summer of 2000. It was just an ok summer, but I still don’t hate the track, so I guess that makes it a 6? It sounds utterly professional, not in a good way or in a bad way, just in a “this is a professional piece of music” way.

    The reception this song had in the media seemed to be basically “look at Kylie’s bum” as much as anything else. It is a nice bum, I’ll concede that. So it was an odd sort of a comeback.

    My two Kylie 10/10s are “Put Yourself In My Place” and “I Believe In You” but unfortunately we won’t be meeting either of them.

  17. 17
    cmmmbase on 26 Mar 2015 #

    #6 – Confide In Me did get released in the US – on the MCA distributed Imago label. It only made #39 in Dance club play though.

  18. 18
    thefatgit on 26 Mar 2015 #

    “Spinning Around” walks the line between uninhibited disco in the chorus and the George Michael model of upbeat sophistipop, in the verses. I can’t be the only one who hears shades of “Fastlove” here. However, it doesn’t detract from the song’s appeal. As comebacks go, it’s a very welcome one. She could have spent all of her time collaborating with Nick Cave, and developed a darker, more indie-friendly career, never returning to chart-friendly pop, but I guess, deep down, she knew what worked best for her.

    Count me in as one more who would have loved to see “Confide In Me” get the Popular treatment. The video’s a kind of anime-come-to-life precursor for 21st century J/K-Pop. She would have got at least a 9 for that one. I can’t go lower than 7 here.

  19. 19
    Kinitawowi on 26 Mar 2015 #

    Says a lot that we’ve said more about (the almighty) Confide In Me than this so far. Can’t really argue – Spinning Around is okay, and it clearly revived a career that seemed to be flagging (I honestly thought she’d given up and disappeared after the Some Kind Of Bliss era – my initial reaction on seeing this in the charts was shock), but it’s the sort of song that’d be prime “long service award number one” fodder if she hadn’t had four already.

    5. (Confide In Me is a 9. And since we’ve lost the whole of Kylie’s 90s, let’s give a shout to the aforementioned Nick Cave collaboration – Where The Wild Roses Grow would probably be a high 7.)

  20. 20
    flahr on 26 Mar 2015 #

    “a comeback hit that only the most churlish anti-pop bore could begrudge.” – this line begging to be followed by some begruding & v. glad to see lockedintheattic take up the mantle.

    The song? Er, it’s the one that goes “I’m/spinning around”, right?

  21. 21
    jim5et on 26 Mar 2015 #

    I love that Can’t Get You Out Of My Head is so immense that its gravitational pull even obliterates the Spoiler Bunny. This is pretty good, smooth pop, but without the huge reservoir of goodwill that Kylie has always had – which goes back to Charlene – we’d have forgotten it.

  22. 22
    daveworkman on 26 Mar 2015 #

    apropos of nothing, I seem to recall that Kylie was interviewed on Chris Moyles’ afternoon show on Radio 1 just before this came out, and it was pretty much an uninterrupted chat for what seemed like an hour, which at the time surprised me quite a bit as I assumed by this point Kylie was an irrelevance in contemporary music, whereas R1 seemed to be treating her like some sort of returning hero…

  23. 23
    Tom on 26 Mar 2015 #

    #21 I made attempts to avoid it but they all came out a bit coy so, yes, I took my chances with the bunny.

    Looking at the reception for Impossible Princess it seems like the NME took the same strong “hands of our music, shameless pop hussy” line it did with Mel C a few years later.

  24. 24
    chelovek na lune on 26 Mar 2015 #

    Hardly outstanding (and I remain underwhelmed by the forthcoming enormous revolving bunny …but…) ; but a welcome, fairly near to pure-pop (+ beats) return to a style that suited Kylie much more than the indie digression, mostly, had. Pleasant enough, it sounds better to my ears now than it did then – and nodding back towards some of her earlier (even SAW) material.

    Before learning of the Paula Abdul connection, I had wondered if the “I like this like THIS” part had been a deliberate allusion to “I Guess I Like It Like That”, which was probably (well, perhaps, certainly) the weakest track (2-Unlimited-sampling.. No…!) on what is generally an underrated and reasonably solid album (“Let’s Get To It”). – a reminder of where she had come from, and evidence of how she had grown….but…maybe not. But – – a little later on she revived the title “Love At First Sight” to create a rather more mature song of that name than the identically-titled piece of pop fluff on her debut album…so maybe…

    Agreeing with the high praise for “Put Yourself In My Place”, which remains my most favoured Kylie single, I think, but also for (going way back – but still after her last no 1 before this one) “What Do I Have To Do”, which, like “Spinning Around”, played off the pop and dance elements against each other pretty successfully.

    So – for all that – a return, if not to full form, at least to a style in which that form might have a chance of blossoming. 6 seems fair

  25. 25
    Phil on 26 Mar 2015 #

    Gosh, what a dull record – competent, well-paced, not over-long, but so dull; even duller than I remembered it being. 4 from me.

    The video, on the other hand – which I didn’t see at the time – jolts my inner teenage boy awake, with that classic frisson of hang on, I’ve just seen what?. There’s an odd combination of titillation and wrongfooting going on: it seems to be calculated to make you (or your inner teenage boy!) feel like you’re seeing a lot more than you are, and then make you feel you’re being shown a lot less than you think you’ve just seen – there’s something rather ostentatiously ‘clean’ and Young Generation-ish about the dance routine at the end, for example. And this, of course, also puts me in mind of the looming megabunny, whose video was a masterclass in showing everything and nothing. (Is this making sense to anyone, or am I just a sad middle-aged man perving over Kylie? Be honest…)

  26. 26
    AMZ1981 on 26 Mar 2015 #

    I think the indie Kylie years were an attempt to deliberately run down her career commercially. It’s unlikely that a string of post SAW style singles would have fared any better in the nineties and would have made her look hopelessly out of touch. Instead what she lost in sales gained her credibility as an artist willing to take risks and explore new ideas. It’s worth noting that she only released two actual albums in the nineties and mainly kept herself visible as a featured artist.

    I think it needs to be said that even by 2000 she was almost a unique kind of celebrity. Despite having spent all of her adult life in the spotlight she avoided any public breakdowns (despite dating the doomed Michael Hutchence) and gave the general impression of being level headed. You get the feeling that she saw her early noughties second wind as a bonus prize and might have been happy as a semi retired pop star occasionally putting on a show for the faithful.

    Was it good timing that she returned to making pop music just in time to catch the pop boom of 2000 or a calculated move? The fact that Spinning Around took off so strongly surprised a lot of people at the time.

    Which takes me on to the song itself. For me it shares something with the 2001 bunny in that I want to like it more than I actually do. I like a lot of her songs and my favourite is a toss up between Better The Devil You Know and (more leftfield) Put Yourself In My Place with the follow up to Spinning Around coming in third. But Spinning Around felt a bit so so listening to the top forty as a nineteen year old and it still does now.

  27. 27
    Auntie Beryl on 26 Mar 2015 #

    The best Kylie singles are the almosts: those that made 1 are almost superb; those that almost did are.

    I can’t give much of a toss about this. 5.

  28. 28
    will on 26 Mar 2015 #

    Agree with the consensus view on this – it’s ok, safe, very much a retreat in artistic terms.

    I must be the only person who actually liked Some Kind Of Bliss – certainly prefer it to this. For me her brief ‘indie Kylie’ phase was a bit of a missed opportunity

  29. 29
    lonepilgrim on 26 Mar 2015 #

    this is pleasant enough but a little bland – I’m not sure that’s entirely Kylie’s fault. She has more talent as a singer than (say) Sheila B Devotion but for me ‘Spinning Around’ lacks the rhythmic richness of ‘Spacer’ or other Chic productions – and if you’re going to go down the retro-disco route then you leave yourself open to such comparisons.
    Nor does the production compare well with more contemporary dance producers who were exploring the potential of digital techniques to manipulate sound and rhythms in new ways – so this song slips by thanks to Kylie’s amiable affect/arse

  30. 30
    Shiny Dave on 26 Mar 2015 #

    I said that “Day and Night” was a solid, unspectacular example of contemporary pop, and I think this is basically the same but a tad better. A high 6.

    I believe a lot of the enormity of the 2001 bunny-buster came from when it was released, but I’m sure we’ll touch on that when Tom gets to it (late autumn, if Popular output goes at the anticipated pace?) and I’ll simply say now that it’s a fair bit better than this. As is “Confide In Me,” obviously.

  31. 31
    Ed on 27 Mar 2015 #

    Thanks to all on this thread for reminding me of Confide In Me, which has brightened up my week no end. I remembered it mostly for the guitar lick borrowed from The End, which I thought at the time was a pretty cool move for Kylie to have made, but the whole song is absolutely gorgeous. As Izzy says @9, the video is terrible, but it’s interesting for the jarring contrast between the old Kylie we can see and the new Kylie we can hear.

    SA itself is quite dull, I agree, but with the benefit of hindsight it’s part of an important trend in 2000. There is something big coming, and different performers and producers are groping around trying to find it. Kylie, Madison Avenue, another big bunny coming up quite soon, are like evolutionary first steps or prototypes. They are test runs for the moon shot that hit the following year.

  32. 32
    swanstep on 27 Mar 2015 #

    Wow, I disagree wholeheartedly with the Tom-led consensus here, and give this an 8.

    I’m amazed that no one so far has mentioned ‘Spinning Around”s bass part since it’s the core of the record. Kylie can shake her arse all she wants but *why* that made so much sense for her here and was so effective is over to Paul Spalding’s ever-in-motion, always in-the-pocket bass. When was the last time a Popular #1 had a part that was genuinely sharp and that immediately sent musicians all over the world scurrying to figure it out and how to play it?
    Much of the rest of the track is stock I’d say, (although the main disco guitar figure and withholding its return almost to the end of the second verse is delightful), and it’s a real shame that, having come up with a Rock-With-You/Thinking-Of-You level bass-part, the beats are left as dreary programs. I think SA is one of Kylie’s best records and bought Light Years at the time on its strength (sadly nothing else on the album was nearly as good in my view), and I prefer it to her forthcoming Bunnysaurus (which I never much liked until she mashed it up with ‘Blue Monday’).

    The track I most associate and readily compare with SA (although checking now it was a little later) is Ellis-Bextor’s near-Bunny ‘Murder On The Dance-floor’. While MOTD has more vocal and melodic personality than SA, it doesn’t have SA’s killer inventive bass and isn’t half as successful a dance record as SA for that reason.

    Oh, I’m not the same/You like it like this

  33. 33
    Cumbrian on 27 Mar 2015 #

    The chorus is catchy enough that all these years later, I was able to hum it to myself without the need to go back to the source and I definitely hear TheFatGit’s call out of Fastlove on the verses. It’s reasonable enough, I think, without setting the world on fire and 5 or 6 seems about right to me. I’d probably err on the side of a 6.

    Other things:

    4: Who and why are people defending Kara DioGuardi? After seeing this comment, I went to her Wiki songs page and cross-referenced with Youtube and this song is about the only one that she’s been involved in (and it was co-written by three others, including Paula Abdul, according to the credits) that is in any way memorable as far as I am concerned. Her stock in trade seems to be what the detractors of this are complaining about – i.e. boring and safe pop music. It’s not a pejorative question, I’m interested in knowing what her skills are because I am obviously not getting it.

    16: Ah, yes. The video. This comeback was definitely based on some element of sex appeal as much as the songs themselves – that Agent Provocateur ad came out around about now too, which, as I had a fast internet connection at university for the first time in my life, was the first experience I had of a piece of video going viral through the net. May well be the best thing The Hives were ever involved in too. Anyway, I thought that the songs around Kylie’s comeback were pretty decent, more than from her first or second go around anyway (with the odd exception – Better The Devil You Know and Confide In Me being two), although, on reflection, it’s the 4 singles off Fever which give me that impression. We’ll get to those later, I suppose.

  34. 34
    Alan Connor on 27 Mar 2015 #

    I wish I could find the Viz pull-out poster that explained in alimentary detail how Kylie’s arse worked.

  35. 35
    Cumbrian on 27 Mar 2015 #

    Looking at the chart in the week got this to #1: does anyone know why FTGH’s Power Of Love is at #6? Don’t remember that happening at all and definitely stands out as a bit of an oddity. This was also the week David Gray’s Babylon hit the charts – but I think we talked about him a few entries back.

  36. 36
    Rory on 27 Mar 2015 #

    Our previous spin through Kylie’s 1980s number ones prompted me to take the plunge with her post-SAW albums, even though I (still) couldn’t abide the SAW stuff – I was giving 3s or 4s where Tom was giving 6s and 7s. “Confide in Me” was, even at the time, the first Kylie single I positively liked, and it still sounded great; of her Deconstruction albums, Impossible Princess was the most interesting to my 2010s ears, with “Some Kind of Bliss” a highlight (so yay, Will @ 28). I can’t really buy AMZ1981’s “run down her career” theory; what her SAW successes had bought her was the luxury to explore, and in her 20s that would have been a natural inclination; she was her own woman now. Who deliberately tries to make unappealing music (apart from notable examples of end-of-contract Fuck Yous to record labels and/or critics)? Even if it didn’t appeal to the public as much at that particular time, I would assume it appealed to her.

    It isn’t as if she stopped having hits. Kylie was still very much in the limelight through the 1990s from an Australian point of view, where “Confide in Me” was number one for five weeks. If anything, the early ’90s were her fallow period there, with no top-ten hits since 1991; the 1992 Let’s Get To It singles did far better in the UK than in Australia. (See also – perhaps not coincidentally – INXS’s Welcome to Wherever You Are singles that year.) Kylie also had a number two single in Oz with Nick Cave with “Where the Wild Roses Grow” in 1995. Impossible Princess peaked at number 4 there in ’98, which wasn’t bad considering the musical landscape of the time; she wasn’t being seen as yesterday’s news, even if the album didn’t contain any hit singles. The two-year gap between that and Light Years was nothing, really. “Spinning Around” was some kind of return, but hardly a case of coming in from the wilderness.

    I liked it well enough at the time; it reminds me of a specific party in Melbourne at the end of 2000 where Light Years and ABBA Gold featured heavily. It seemed very much tied in with the ABBA revival, even though Gold had been out for several years; that album had just been remastered and re-released, which may be why it was in people’s minds again.

    Listening to it today, “Spinning Around” is more than a run-of-the-mill 5 to my ears; it’s got a hooky chorus, and goes straight into it, and it gets the vibe just right (and thankfully there was no Gaye family hovering in the wings). It isn’t the album’s highlight – that would be “On a Night Like This” – but I’d go a 6, and on the right night a 7. A good one or two points higher than my highest SAW Kylie score, then, which feels right.

  37. 37
    Andrew on 27 Mar 2015 #

    #35 trance-lite remix by Rob Searle

  38. 38
    Izzy on 27 Mar 2015 #

    32: the bassline is excellent, and yes it’s unlike any others I can think of. I’d never particularly noticed it before, but I am taken with there being a muso nerd community where licks like that, or the snare sound on Breaking Glass, rather than Live Aid or Britney’s début, are a year’s big events. Where do these people congregate, where can I get a piece of that action?

  39. 39
    Cumbrian on 27 Mar 2015 #

    #37: Cheers. A new one on me and, having been to Youtube to check it out, isn’t really doing anything for me either.

  40. 40
    IP on 27 Mar 2015 #

    I’m very fond of “Your Disco Needs You”, which I think wasn’t released in the UK as a single. It’s “Disco Kylie” to the point of cartoonishness, but for me it’s up there with the best of Trevor Horn and the Pet Shop Boys for gratuitous pop overload. Maybe it would have been a number one in 1988.

  41. 41
    Rory on 27 Mar 2015 #

    #40, I’d forgotten that one – yeah, it’s great. Definite mid-album highlight. It did get a UK single release, but peaked at #152; staggeringly low, given what came before and after it. (Two other top ten 10 hits from Light Years plus her Robbie Williams duet, and Bunnysaurus.) I guess everyone who wanted the track had already bought Light Years by then. Also possibly implicated in January 2001: peak Napster. Still reached number 20 in Oz.

  42. 42
    JLucas on 27 Mar 2015 #

    Your Disco Needs You was definitely not given a full commercial release in the UK. The #152 peak is from import sales – it was released in Europe.

    The other big missed opportunity from Light Years for me is ‘Disco Down’, which is just wistful pop perfection.

  43. 43
    Rory on 27 Mar 2015 #

    Ah right, that’s a more sensible explanation. That’ll show me for trusting Wikipedia.

  44. 44
    Andrew on 27 Mar 2015 #

    The title track and ‘Butterfly’ are also Light Years highlights.

    ‘Your Disco Needs You’ was written with Robbie Williams and Guy Chambers; arguably the best song either has ever been involved in.

  45. 45
    wichitalineman on 27 Mar 2015 #

    My memory of this was was a general sense of relief and good will – “Yay, Kylie sounds like Kylie again”. It felt like an easy number one, especially given the disco revival. How much more comfortable this still feels than Geri’s efforts. A high 6 for me.

  46. 46
    wichitalineman on 27 Mar 2015 #

    NOW watch. This ended up on disc one of Now 46, which is a pretty solid collection. Aaliyah’s Try Again and Mary Mary’s Shackles stand out as genuine masterpieces – Sex Bomb and When A Woman (how did anyone think that even sounded like a song title? Entirely half arsed), not so much. There’s still a bunny on Disc 2 so I’ll keep schtum.

    1. “Oops!… I Did It Again” Britney Spears
    2. “Reach” S Club 7
    3. “It Feels So Good” Sonique
    4. “Shackles (Praise You)” Mary Mary
    5. “Gotta Tell You” Samantha Mumba
    6. “When a Woman” Gabrielle
    7. “Spinning Around” Kylie Minogue
    8. “Sex Bomb” Tom Jones and Mousse T
    9. “The Bad Touch” Bloodhound Gang
    10. “Don’t Be Stupid (You Know I Love You)” Shania Twain
    11. “Day and Night” Billie Piper
    12. “2 Faced” Louise
    13. “Try Again” Aaliyah
    14. “Bye Bye Bye” ‘N Sync
    15. “Ghetto Romance” Damage
    16. “When I Said Goodbye” Steps
    17. “New Beginning” Stephen Gately
    18. “The One” Backstreet Boys
    19. “Porcelain” Moby
    20. “Yellow” Coldplay
    21. “A Song for the Lovers” Richard Ashcroft

  47. 47
    Rory on 27 Mar 2015 #

    Wikipedia duly amended. Here’s an Official Charts piece on YDNY as a lost Pop Gem.

  48. 48
    Alan on 27 Mar 2015 #

    EDIT: oh never mind, I see this was covered in the time I eventually decided to post something!

    As CGYOOMH has been invoked is it anticipating too much to have a moment’s silence for the “lost Kylie single” (at least in the UK) “Your Disco Needs You”. I never checked what the story was with how it missed the charts? (I *think* it was released, right?)

  49. 49
    Rory on 27 Mar 2015 #

    Fascinating to contemplate how “Your Disco” might have fared in today’s digital download era. If Wikipedia is to be trusted (if!), only 10,000 copies were pressed of the Australian release, which would be another explanation for its relatively low peak there. If there had been no physical constraint on availability, who knows?

    (P.S., give us the goss on #10/#15, wichita!)

  50. 50
    Phil on 27 Mar 2015 #

    “Your Disco” is magnificent. I was sold by the time the drum track came in, never mind the vocal – talk about “you had me at Hello”. It’d be a very solid 9, and the only thing that kept it from an instant 10 was that I couldn’t help feeling it’d sound even better with vocals by Neil Tennant. (Also, the video does none of the “now you see it, a-ha did you see it at all?” malarkey of SA and the future bunny, so it’s not just me – I’m happy about that.)

  51. 51
    Kinitawowi on 27 Mar 2015 #

    #35 and #46: Now! 46 Disc 2 reveals the FGTH rerelease as a “Rob Searle Club Mix”, so possibly it found a new life as an underground banger, or something.

  52. 52
    lockedintheattic on 27 Mar 2015 #

    I loathe Your Disco Needs You even more than Spinning Around (which is just bland in comparison). For me it is the utter low point of her 90s career (actually, the awful french bit in the middle eight would be the specific low point). It’s just too unsubtle, too obvious, too ‘hello! i’m a gay icon! here’s a record for the gays’. Not the sexy or subtle Kylie which comes out in her best records. In my head it’s a pair with the Pet Shop Boys’ similarly dreadful New York City Boy from the previous year.

    Which probably makes me sound like a bit of a pop reject – which I’m absolutely not (of her 90s/00s singles up to this album, Finer Feelings, Put Yourself in my Place, Confide in me, Where is the feeling, Breathe, Please stay and On a night like this would all easily be 8+ from me).

  53. 53
    IP on 27 Mar 2015 #

    #46: I *loved* Sex Bomb the first time I heard it. I was living in the States and didn’t know it was a Tom Jones song.

    It’s, er, worn off on me a little since then. I still like it, but I’m not sure I could be seen in public dancing to it.

  54. 54
    Mark M on 27 Mar 2015 #

    Re46: Yes, Shackles! Random but brilliant god-repping hit.
    Try Again is astonishing. I’d been planning to wait until the end of the year round-up to talk about it more.

  55. 55
    Matthew K on 28 Mar 2015 #

    I gather there’s no bunny prohibition of my favourite Kylie – “Come Into My World” – but I can’t decide whether that’s because of the pulsing Kraftwerking of the backing track, or the bewitching multiplex Michel Gondry video. It’s one of the things I mean when I say “pop music”.
    “Spinning Around” is polished but really I feel Moloko should have had its success instead. Lack of hotpants, presumably.

  56. 56
    Billy Hicks on 28 Mar 2015 #

    35/46/51: I love, love, *love* the Rob Searle mix of Frankie’s Power of Love at a level with the original, and am aware I’m probably alone on Popular for thinking so. The radio edit absolutely screws it up by repeating the chorus twice and generally cutting it too much – plus on Now 46 it sounds like it’s been copied from a dodgy Napster mp3 and sounds a bit compressed, but the full mix is absolutely sublime and one of the best trance remixes of a track I can think of. Up there with Ferry’s mix of Adagio for Strings and Airscape’s mix of Silence.

    My only memory of it is Christmas shopping with a friend in Oxford Street about nine years later, hearing the usual Mariah/Pogues/Slade culprits on the store speakers only to be unexpectedly *blasted* with the Rob Searle POL remix, to many’s confusion at what the hell they were hearing.

  57. 57
    JoeWiz on 28 Mar 2015 #

    Surprised about the minor flogging this has got. To me, it’s bright, breezy and fresh- a perfect hello it’s me again from ‘our’ beloved Kylie. The main thing I remember about this period was the idea she’d come to terms with the idea she was a big bold look at me pop star. There’s a 98(ish) TFI interview where Evans attempts to get her sing ISBSL. She cringes beyond belief and does it firmly tongue in cheek. By 2000, she seemed much more comfortable with her past. And why wouldn’t she be?

  58. 58
    Ed on 29 Mar 2015 #

    @54 Seconded on Try Again, which is, as you say, astonishing. It’s like a number one from some super-advanced alien civilisation that we can’t understand, only marvel at.

  59. 59
    swanstep on 29 Mar 2015 #

    @Ed, et al.. I’m not sure what you’re hearing in ‘Try Again’. To me it feels exactly of its time and undistinguished compared to ‘Jumpin Jumpin’ and other comparable Destiny’s Child sides from 2000.

  60. 60
    Lazarus on 29 Mar 2015 #

    Same here, I had another listen and it didn’t exactly leap out at me either. ‘More than a Woman’ though, that’s another matter.

  61. 61
    chelovek na lune on 29 Mar 2015 #

    Put me in the pro-“Try Again” camp. Then it struck, and today it still strikes me as being really rather good. (inferior to “Jumpin’ Jumpin'”? possibly, but that is no condemnation) Of its time, sure. Beat, production, voice, song+rap combo all work – and the mixture of melancholy and optimism is appealing too. Works to dance to, or to listen to. It was certainly the single that made me aware that Aaliyah was almost certainly a major talent on the way up (such a voice -though in retrospect the evidence for this had been there fo the hearing already six years earlier, at least) , and one can only wonder what she might have come up with had her life not ended at such a young age . But, at least we will have a chance to consider her at length later…

  62. 62
    Mark M on 29 Mar 2015 #

    Re61: Blimey, I hadn’t been aware that the Bunny looms… (not for Try Again, obv). (I also didn’t realise how many UK hits she actually had, going back to ’94).

  63. 63
    mapman132 on 30 Mar 2015 #

    Chart geek trivia: “Try Again” was the first song to top the Billboard Hot 100 without a single release, i.e. entirely on airplay. Of course it wouldn’t have been allowed on the chart at all before a 1998 rules change. It’s a decent enough song, but I’m with Swanstep, i.e. a bit surprised at the love it’s getting here.

  64. 64
    Ed on 30 Mar 2015 #

    @59, etc: “Not as good as Jumpin’ Jumpin'” is setting the bar very high indeed. That run of four singles from The Writing’s On The Wall: Bills Bills Bills, Bug-a-Boo, Say My Name and JJ, is the equal of any four-song stretch from the Beatles, Stones, Pistols, Smiths, Supremes or Girls Aloud, as far as I’m concerned.

    In spite of what the YouTube comments would suggest, though, it’s not a competition. And Try Again is both dazzlingly futuristic – that bassline! – and heart-achingly lovely, in its melody and Aaliyah’s delivery.

    But I can hear bunnies jumping (jumping) all over the place, so perhaps I should save the rest of my feelings for another time.

  65. 65
    lockedintheattic on 30 Mar 2015 #

    I’d add Get on the Bus to that four-track sequence – it kind of slipped through the radar coming between the first and second albums, but was added to the UK release of The Writing’s On The Wall as a bonus track and it made a great intro to that album’s new sound, as I think it’s some of Timbaland’s best production work and easily the equal of the first 4 proper singles from the album

  66. 66
    punctum on 30 Mar 2015 #

    “Threw away my old clothes/Got myself a better wardrobe.”

    The song stutters into being, coming out of the end of a long, dark tunnel of remembrance – that brief candle of 1988 Emulator string swoop being quickly snuffed out – with distant echoes of “I’m not the same” flickering into ever closer view. Do we like her like this?

    “Spinning Around” was an explicit attempt at the most major of comebacks; Kylie had not had a number one in Britain for over a decade, and throughout most of the nineties she wandered as though lost, and progressively less amiably. One of her last SAW hits had been the extremely self-aware “What In The World (Heard It All Before)” in which the team finally waved their white flag and admitted that there was only so much they could do with/for/to her, and the TOTP performance was suitably parodic. While she was extremely unlucky to miss out on a number one with “Confide In Me” it did mark the beginning of a period where we didn’t quite know what Kylie was for – let alone Kylie herself. Were the boy fantasies of Nick Cave or James Dean Bradfield necessarily any more valid than those of the grown men constructs of Stock, Aitken and Waterman? 1997’s Impossible Princess album was supposed to be her big post-New Pop/post-Spice return, and then the most impossible of all princesses died, and she had no answer to that. Thus she receded, or reduced, into becoming a Towa Tie typeface font. Would there be any of her left for the next century? This question was thrown into more problematic focus by Steps, for whom Waterman gleefully reworked “Better The Devil You Know” as though Kylie had never existed; it was a number four hit over Christmas 1999 – only half as successful as the original, but the original may as well have been invisible.

    Somewhere along the nineties by-roads she worked with the Pet Shop Boys, and Neil Tennant recommended her to Parlophone; at the time she seemed but one ministep away from a Saturday variety C list reliable, two pay cheques separating her from squatting on the bench in Channel Five’s karaoke gameshow Night Fever, one breath and a half away from becoming an involuntary guilty pleasure, or camp laughing stock. She was never going to settle for that.

    The gambit worked, and “Spinning Around” bestowed upon her all the saved-up goodwill which had been withheld from her by a confused or forgetful public for the best part of the nineties. In truth the record stands up more securely as a gesture, a marker of deceptively unflappable faith in those who don’t consider giving up an option, than as a particularly good pop single in itself; the old bounce is reinforced, while throughout Kylie is at pains to sextuple underline that this is now and this is her future (“And did I forget to mention that I found a new direction/And it leads back to me – yeah!” Talking about dreaming a highway…) and that the past, though eyed with no little hindsight-fuelled contempt (“Clearing this house out of joy that I borrowed from back in the day”). The music sounds like a modified, Waterman-less SAW – her cries of “I’m not the same” riding the Fairlight waves towards fadeout – but also like the initial building bricks of the world which she now intends to build for herself.

    That having been said, the song itself is slightly lacking in punctum punch; it dances around in a perfectly merry post-House way but can best be viewed as a launch pad for where she went next. Nevertheless her renewed triumph – and a one-off nostalgia comeback was ruled out by further major hits, a big-selling album and sold-out tour – was genuinely heartwarming, particularly taking into account the gold hot pants she wore in the video, which marked perhaps her greatest gesture of defiance; look, I’m 32 and I’m still sexy as hell, but on my own terms. Thus, after Madonna, she became the second female artist to score number one hits in three consecutive decades; in the video for “Spinning Around” she appears set to soar into space…and with her next number one, she nearly succeeded in exceeding the universe itself.

  67. 67
    swanstep on 30 Mar 2015 #

    @ed, 59, et al.. Fair enough on the push back to my ‘Jumpin Jumpin’ comparison. I was only meaning to resist the suggestion that ‘Try Again’ was way out ahead of the top-of-the-US-charts/mainstream at the time. No, D’s Child and Missy E esp. were killing it/thrilling it in this period (I think we’re all agreed). Saying that TA was way ahead of and apart from *all that* made no sense to me…. but you weren’t really saying that it turns out, so we’re good.

  68. 68
    Tom on 30 Mar 2015 #

    “Try Again” was particularly hotly anticipated because of “Are You That Somebody?”, which predates (I think) those DC singles and still sounds really weird, and the idea that Timbaland was saving his most far-out productions for Aaliyah. The other factor, I think, was that a lot of the appreciation for futurist R&B was coming from people who’d spent the 90s massively invested in dance music, and the acid house squelches on “Try Again” were an enormous button press for them!

  69. 69
    Tom on 30 Mar 2015 #

    (The flipside of Timba apparently caring more about his Aaliyah productions is that he kept rapping on them, of course.)

  70. 70
    mrdiscopop on 30 Mar 2015 #

    Bono once said pop stars are forever frozen at the age they become famous. He meant it as a comment on the childish behaviour of his contemporaries – but I think it applies to public perceptions, too.

    Kylie has never been allowed to grow up – her persona is still a childish fantasy of princesses and glitter. And when she tried to escape and act her age, she lost everyone but her core audience. The Nick Cave years were good for media narrative, but she soon retreated to safe ground with material like this, playing to the gallery for all she was worth (those hot pants are the most cynically calculated career move we’ve seen for a long while on these pages).

    Spinning Around is efficient and durable, with all the tedious mediocrity that implies. Her quality threshold gets higher once she’s got some wind in her sales – but from this point on, she plays it safe.

    It reached its nadir last year when her creatively-moribund Kiss Me Once album was almost immediately followed by an experimental, exciting EP with Fernando Garibay. You could tell which project she was more engaged with – and it wasn’t the one that had a major media spend for the marketing campaign.

    No wonder she dropped her label last week.

  71. 71
    Phil on 30 Mar 2015 #

    How is everyone defining ‘hot pants’, btw? They certainly aren’t the thing we called ‘hot pants’ when hot pants were in vogue in the early 70s, which were basically cut-off dungarees (tailored like that, though, not DIY in a Daisy Duke style). They certainly qualify as pants which are hot, so I suppose I can see the logic.

  72. 72
    Ed on 31 Mar 2015 #

    Those amazing Aaliyah singles are all the more remarkable for being attached to a couple of entirely forgettable movies.

    Are You That Somebody is from the Doctor Dolittle reboot, which is unseen by me and likely to stay that way. Try Again is from Romeo Must Die, which looks slightly more promising but sticks in my mind mostly because of Kanye West name-checking it in Never Let Me Down.

  73. 73
    Mark M on 31 Mar 2015 #

    Re72: I’ve seen Romeo Must Die, but… well, indeed don’t remember much about it. The hip-hop/martial arts crossover movie remains a bit of a Holy Grail (here’s me on Rza’s Man With The Iron Fists). I have a feeling that Jet Fi looked uncomfortable in RMD. DMX has a good screen presence – which reminds me that Hype Williams’ Belly remains (wrongfully) massively unloved (5.8 on IMDB, 13% on Rotten Tomatoes) and little seen.

  74. 74
    anto on 1 Apr 2015 #

    Actually, I kind of prefer it to ‘Can’t Get You Out Of My Head’ which is one of those tracks that feels almost hampered by it’s own perfectionism. ‘Spininng Around’ is a likeable champagne cocktail of a single which came as a pleasant surprise. There is a touch of the best of ’78 about it.

  75. 75
    Tommy Mack on 1 Apr 2015 #

    My memory (in concordance with many above) is that it was seen as a respectable comeback and everyone (except Kelly Jones) was glad to have her back. Retrospectively it is rather eclipsed by The Bunny which was ubiquitous. An aside: a guy at university was bragging about his mate being in the video for this and having got ‘this close to Kylie’s arse’ to which a mate told him he sounded like Gareth from The Office. Which indeed he did.

  76. 76
    Andrew on 1 Apr 2015 #

    oh god, what was Kelly Jones’ problem?

    A more pedestrian post-Britpop success you’ll not meet, but Stereophonics were *everywhere* at this point. Perhaps Kelly was getting a bit big for his boots? (“LEAVE KYLIE ALONE”, etc.) I can remember smirking when the NME knocked a few spots off him after that dire press-baiting ‘Mr Writer’.

    We’ll have a chance to chat more about them in a few Popular years, of course.

  77. 77
    DanusJonus on 2 Apr 2015 #

    Slightly shocked at having being persuaded to join this site in order to respond to a comment about Kelly Jones. Nevertheless, to add to the ‘What was his problem’ train of thought, I had exactly the same issue when at college, though on a wider level about the band in general. I could never understand why him or his band were so popular among people I knew. At the time my late teenage arrogance encouraged me to refer to them as ‘Top Man music’. They were the late 90’s accessible guitar band for so many people of my age, but personally I never saw it. I remember one girl thinking that ‘Same Sized Feet’ was a masterpiece.

    I distinctly remember the same night I went to see the Blur ‘Singles’ tour in Birmingham than many friends were off to Manchester to see the Stereophonics, firmly believing that this was the more exciting prospect. I did wonder whether in 15 years they’d still hold the Stereophonics in such high regard.

    Anyway, just wanted to say the site is rather fantastic but it may take me six months to catch up with all the comments.

  78. 78
    Tommy Mack on 3 Apr 2015 #

    The best bit of Kelly Jones-baiting in the NME was a Thrills spoof piece headlined UN salutes Kelly Jones’ bravery in criticising Hear*Say. More on them to come too of course.

  79. 79
    23 Daves on 3 Apr 2015 #

    A friend of mine edited the entertainment section of a regional magazine who had supported The Stereophonics in their earliest days, and had generally been treated favourably by both the band and V2 as a result. At the height of their success, on the other hand, Jones arsily cancelled an interview with him on multiple occasions, until he was left right up against a deadline with no copy to file. So he wrote a long article about his recent negative experiences, calling out the band and Jones on their lofty behaviour, inevitably finishing with the line “Sorry, I’m just telling it to you like it really is”.

    Interestingly, someone called him from the record company the day the article went to press and asked him “Who put you up to this?” which indicates that the band were becoming somewhat difficult and obviously making enemies at this point.

  80. 80
    Tommy Mack on 6 Apr 2015 #

    Just caught Stereophonics covering Rod on TOTP2. I’d forgotten what an arrogant knob Kelly was…It’s like Robbie Williams without the dash of vulnerability.

  81. 81
    DanusJonus on 9 Apr 2015 #

    I think Kelly Jones had a classic case of small man’s syndrome. He was only 3 foot 7 inches tall (or small?) you know. He used to carry two copies of the yellow pages around with him to stand on when the situation called for it.

  82. 82
    Phil on 9 Apr 2015 #

    Apparently he was Kylie Minogue’s toyboy for a while. Not her boyfriend – literally a toy boy, she used to carry him round in a bag and get him out when she was bored.

  83. 83
    Tommy Mack on 10 Apr 2015 #

    There’s something of Jeremy Clarkson about the neo Dad Rock set (Jones, OCS’ Steve Craddock, Nole etc) isn’t there? They long to be like the swaggering, entitled, care-free heroes of their record collection (and fair enough, who hasn’t fantasised about being a rock god) but instead they’re a neurotic, defensive bunch, jealously guarding their ever shrinking fiefdom of ‘proper music’. It all seems very insecure: if you genuinely felt superior to pop then you could afford to be generous to pop in a ‘well, it’s alright for enentertainment’ sort of way but a lot of them seem to genuinely resent the existence of music which isn’t their own.

  84. 84
    DanusJonus on 10 Apr 2015 #

    Re 83: Very very true. I think we could also easily add Embrace into that category as well. God the McNamara brothers used to get on my wick, I’ll never forget their first big NME interview when they talked about how only Brian Wilson and The Beatles were ahead of them. I also think the ‘neo Dad Rock’ crew became more neurotic and defensive when they realised that the era of having top 5 singles was only a passing phase. I’d wager that there was a correlation with the quality of their output as well (Marchin’ Already anyone?). Then again, somehow, Dakota went to number one about 5 years later; I should perhaps save some invective for when we get to that point.

  85. 85
    Mark M on 10 Apr 2015 #

    Re84: My recollections of doing a very similar early interview with Embrace are on the Drugs Don’t Work comment thread.

  86. 86
    Phil on 10 Apr 2015 #

    Oi, leave Embrace out of it! I thought TGWO was quite genuinely wonderful (apart from McNamara Mi’s dreary thrashers) – I remember telling someone they were as much better than the Verve as the Verve were better than Oasis.

    One-album wonder, though – very little idea what they did next.

  87. 87
    DanusJonus on 11 Apr 2015 #

    OK, Embrace confession. I did actually buy ‘Come Back to What you know’, so I must have liked it, it was more their comments and his voice that made me want to sit in a darkened room with a bucket on my head. Some of the songs were OK, but everything seemed to be the same tempo and rhythm. Then again, that was true for a lot of guitar music at the time. I remember getting the piano sheet music for What’s the Story or Be Here Now and realising how almost everything was 4/4 and the bass never varied from four crochets in a bar. In Oasis’ case that may have been due to Guigsy’s limitations, there just seemed to be a template that many bands at the time were following.

    I think Embrace did about 5 or 6 albums. I may have made this up but I’m sure Coldplay ended up writing a single for them a few years later which did reasonably well?

    Mark M, I’d love to read that interview, though I presume it won’t be easy to locate? I have a bucket and dark room on standby.

  88. 88
    Phil on 11 Apr 2015 #

    They did carry on, but my interest in them fell off a cliff with “Hooligan” and never returned – which makes me wonder if they were just the band for that moment in time, and/or in my life.

  89. 89
    Mark M on 11 Apr 2015 #

    Re87: The actual published piece is only 250 words of ‘hey! exciting new band!’ stuff – I might be able to dig it up if you’re still interested.

  90. 90
    Tommy Mack on 11 Apr 2015 #

    #87: yeah, in retrospect, it seems laughable that the NDRC (Neo Dad Rock crew) marched under the banner ‘proper music by proper musicians’ when so many of them couldn’t play or arrange for toffee. To consider yourself the peer of Brian Wilson just because your record label can afford to slather strings over your four chord dirge is the height of deluded arrogance.

    Not that chops are a particularly important criterion for me. Give me The Ramones over any of the above-mentioned jokers any day (or to return to topic, Kylie over Mariah). But it was weird that all these bands sold themselves as ‘classic songwriting by proper musicians’ when for the most part, they were nothing of the sort.

    I quite liked Embrace for a few singles, the contrast between feeble vocals and overwrought arrangements brought out a certain vulnerability in their songs but I soon got sick of the ‘orchestras on everything’ fad they ushered in.

    Disclosure: I am going zero tolerance on the NDRC because I am so ashamed of how much I loved Moseley Shoals when I was 15…

  91. 91
    DanusJonus on 11 Apr 2015 #

    Re90: I think the overarching motto of the NDRC could have been “*Sniff* Let’s put some strings on it!” I’m sure Embrace went on Jools with an almost full orchestra. As a brief aside, I don’t think I’ve ever seen anyone top Spiritualized when ‘Ladies and Gentlemen…’ came out for the number of musicians on a Jools appearance. I found their wall of sound far more convincing.

    Though as you quite rightly say, musical chops count for nothing. But when you make grandiose claims about your music I think you’re naturally going to draw more investigation and interest in deconstructing it. However long the inventiveness of what was categorised as Britpop lasted, by 98/99/2000 any originality had gone. I think that’s why when The Strokes arrived the music press were ready to declare it year zero, much like 1976. Though it’s stretching the cyclical argument to take it much further than that. (NRDC as 70’s prog!? Without the musical knowledge though of course).

    I too quite liked Moseley Shoals as a 14/15 year old. In-fact, hailing from Blackpool at the time, they seemed to play Blackpool every seven months or so. The crowd used to chant ‘We are the Mods’ when waiting for them to come on. I always assumed OCS saw Blackpool as some northern style equivalent of Brighton; either that or they got very very lost.

    I should also probably mention that Embrace played in Blackpool around this time and did a cover of De La Soul’s ‘3 is the Magic Number’. It was a painful experience to behold!

    Re89: If you can find it I’d be interested, particularly in light of your description in The Verve thread about the background to being asked to write it.

  92. 92
    swanstep on 11 Apr 2015 #

    @DanusJonus. Your light comparison of NRDC with Prog reminded me of this sentence from Carl Wilson’s recent jeremiad against the term ‘Indie’:

    ‘But I still find [Indie-paragon from The Decemberists] Meloy’s unrelenting streams of conceits wearying, like a prog concept album from 1975 without even the gonzo musicianship to liven up the occasion.’

    Go here for the full article.

  93. 93
    Phil on 11 Apr 2015 #

    Confused now – I thought the Decemberists were prog.

    (OK, I’m joking, but not entirely.)

  94. 94
    Mark M on 12 Apr 2015 #

    Re91: Let me know if it’s readable off this (I think it should be).

  95. 95
    DanusJonus on 12 Apr 2015 #

    Thanks Mark, it was indeed readable and enjoyable. Completely worth it for the line “But if ‘Pet Sounds’ had never been brought out I’d be a lot cockier than I am.”

    A case of ‘Give ’em enough rope…..’?

  96. 96
    Alan on 17 Apr 2015 #

    OfficialCharts do a social engagement thing called “Pop Gem”, and for their 100th this week they did “Vote the best of the last 99” (actually they chose just 20 of them to vote on). Your Disco won 23% of the vote.


  97. 97
    ciaran on 11 May 2015 #

    At the time of SA the BBC were at the height of their repeats of Only Fools and Horses phase at the turn of the early 00s. The Jolly Boys outing episode of late 1989 was screened around that moment which featured Del Boy flogging Kylie Minogue LP’s in the market so unfairly it seemed that KM was naff by association (Bros and Showaddywaddy also had the misfortune of being in Trotters stall)

    So the sudden transformation from has-been relic to of the moment on the money sex goddess in no time at all was astounding. By 2000 Kylie would never have been someone that people my age were all that keen on or even familiar with so we had no foot in the camp for her to succeed.

    For an artist best remembered for Ramsay Street and the subsequent prom queen musical image of the 80s it was like that girl you knew in school who had emigrated a decade ago only to come back in time for Christmas/New Year and who has got spectacularly better with age only with no clue if she’ll stay around for good this time.And if you play your cards right you might have a chance after a mojita or two! Not quite the Plain Jane Superbrain Harris character’s makeover in Neighbours that she perfected with Better The Devil You know but as close as you’ll get.

    Does SA get it right? I reckon it does. For an artist whose perhaps banking on a nostalgic goodwill ticket there is something completely modern and current about it. Not for a second out of place with the current trends.Perhaps its erm.. Movin Too Fast for Kylie to catch up with but it doesn’t outstay its welcome and has one of Kylie’s best choruses to boot.That’s before you get to the video but if you’ve got it flaunt it.7

    It was with Kids and the majestic ‘On A Night Like This’ that hinted that Kylie 3.0 was off and running. For all that it’s those 3 singles of 2000 that Kylie is at her best and the decade long success story that followed doesn’t really click with me. The Kylie of 2000 seems effortless whereas what followed is a bit trying too hard with the odd exception maybe!

  98. 98
    Mostro on 12 May 2015 #

    “Spinning Around” is clearly a professionally put-together piece of millennium-era neo disco by people who know their musical history, yet for all that it never did much for me- there’s something overly generic, formulaic and downright *functional* about it.

    I think Tom put his finger on this one when he described it as an ordinary single that did the job it had to.

    Ultimately, isn’t “Spinning Around” remembered as much for its “Kylie’s bum” video as for the song itself?

    Kylie did better disco songs before and since this one.

  99. 99
    oro cartier anelli on 9 Jul 2015 #

    La nostra canna di cartier anelli donna acciaio bambù in mano, collana cartier anelli oro giallo donna Christian Cartier regola cartier anelli donna acciaio lment sulle perle di papavero, corrispondenti ire l’abito Za ‘sul inverno 1954 attraverso la porta Vittoria. Sotto subsitut posteriori, la casa originale della regolazione dello Stato assist cartier anelli uomo oro giallo e gnrale ripet

  100. 100
    Gareth Parker on 31 May 2021 #

    I rather like this, certainly stands out from some of the poor to mediocre #1s of the late 90s/early 00s period. For that reason an 8/10.

  101. 101
    Huw Thomas on 14 Sep 2021 #

    I can date some of my haziest, earliest memories to 2000. “Spinning Around” is the sound of the Knighton swimming pool in my county of Powys – I remember hearing it in the waiting area likely whilst syphoning Ribena from a carton. It is pop as I first found it and it is tied in my mind with the taste of chlorine and the promise of vending machines. It is thus impossible to be objective about this record as those older might be able to be – I don’t hear conservatism, I don’t even hear pastiche. What I can hear is what made it such an appealing song to kids like me. There’s the nursery rhyme frills in the melody (“found a new direction”) and there’s also the small matter of the hook – she really IS spinning around, watch out! Records like this sold pop to me – irresistable and unreachable and brilliant every time. There’s little melancholy here like there is in other formative songs – “One More Time” for example – but it was just as resonant. If there’s an ugly aftertaste to “Spinning Around”, it is that its retro disco-isms came back again and have been the complacent sound of Radio 2 for nigh on a decade. Kylie’s return to that shagged-out territory with the quite-good “Disco” (2020) was a conservatism I could quench for myself. 8/10.

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