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Kylie Can't Get You Out Of My Head -10th Anniversary
TEN YEARS AGO ON 8TH SEPTEMBER 2001…Ten years ago today a single was released in Australia which which would not only become one of the biggest selling singles of the 21st Century, but change the landscape of popular music forever more and send a home-grown girl from Melbourne soaring to a whole new stratosphere of globe conquering proportions. From the opening hypnotic beats, to the infamous ‘la, la, la’ mantra and the gorgeous soaring vocals, ‘Can’t Get You Out Of My Head’ is pop at its most sublime. As the first single release from Kylie’s ‘Fever’ album, the song not only redefined Kylie’s career but garnered a whole host of awards and broke a gazillion records in the process! Premiered on Kylie’s ‘On A Night Like This Tour’ in the Spring of 2001, talk of ‘Can’t Get You Out Of My Head’ quickly set online messageboards alight with hungry fans eager to know when this anthemic new track would be available in stores. By September anticipation was at ‘Fever’ pitch and ‘Can’t Get You Out Of My Head’ debuted at No.1 in Australia as well as the UK where it achieved first week sales of over 306,000 copies! It then launched an all-conquering assault on the charts worldwide, hitting the top spot in every European country bar Finland and became Kylie’s biggest U.S. Hit since ‘The Loco-motion’ in 1988! The song, as well as its groundbreaking video, set new records on radio and TV airplay charts the world over. In the UK the ‘Can’t Get You Out Of My Head’ made radio history to become the first to gather 3,000 plays in a single week and to reign the airplay chart for 8 weeks! It ended the year as the most played song of 2001 and won three Ivor Novello Awards for ‘Best International Single’, ‘Best Dance Record’ and ‘Most Played Record of The Year’. Worldwide sales are in excess of 4 million copies! 10 years on ‘Can’t Get You Out Of My Head’ still sounds as fresh and relevant today as it did back in 2001, and continues to reinvented for new generations at Kylie’s spectacular live shows. HAPPY 1OTH ANNIVERSARY. WE STILL CAN’T GET YOU OUT OF OUR HEAD! You CANNOT use the name of God, or religion, to justify acts of violence, to hurt, to hate, to discriminate- Madonna
authentic power is service- Pope Francis | |
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WOW! I Feel old Pistols sounded like "Fuck off," wheras The Clash sounded like "Fuck Off, but here's why.."- Thedigitialgardener
All music is shit music and no music is real- gunsnhalen Datdonkeydick- Asherfierce Gary Hunts Album Isn't That Good- Soulalive | |
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In August 2009, Pitchfork Media listed "Can't Get You Out of My Head" in their Top 500 tracks of the 2000s list at number 37.[5] Tim Finney said about the song: "How did Kylie make one of the decade's finest dance-pop anthems? By offering less: less singing, less melody, less feeling. What's left is a buzzy, insatiable desire, an itch you can't scratch but maybe can dance out. Kylie is a diva more than singer, understanding intuitively how each coy purr, each insouciant whisper can speak to and for the lust of her audience. The point is not to want her, but to want what she wants: In the right environment, dancing to Can't Get You Out of My Head traces a shared history of hopeful flirtations, irresistible seductions, inevitable disappointments, and the helpless compulsion to repeat the cycle again. If its sleek, synthetic surfaces feel hollow, it's because fantasy is hollow, a shell for impossible expectation."[5] In December 2009, the staff of Rolling Stone listed the song in their list, 100 Best Songs of the Decade, at number 45.[6] They said of the song: "The pint-size Aussie disco dolly seduced the U.S. with this mirror-ball classic, chanting that obsessive melody in a sea of "la-la-la" vocals. We've been hearing it at the gym ever since."[6] In January 2010, Stylus Magazine put the song on their list, The Top 100 Singles of the Noughties, at number 20.[3] Mike Atkinson said of the song: "Like so many great pop records before it, “Can’t Get You Out Of My Head” represents a graceful collision of contrasts. It is both participative and private, matching perky singalong sections with intimate confessions, worried pleas, and moments of blissful surrender. Beneath the archetypal gay-disco bounce, an electric piano sketches a melancholy counterpoint, adding blue notes to the primary coloured template. A soaring, swooning glide of strings is subverted by a series of blaring electronic miaows, which in turn remind us of those strange purring noises which greeted us at the start of the track. Do they subliminally reinforce our image of Kylie-as-sex-kitten, or are they there to satirise, and gently debunk? We could chuckle at the arch wryness of it all... or we could dismiss all these jolly trappings as misleading flim-flam, a smokescreen for the “dark secret” which lies at the heart of the composition... or we could simply de-tune from the detail, yield to the magic, and luxuriate in its utter perfection." [3] Also in January 2010, Slant Magazine listed the song in their Best of the Aughts: Singles at number 3.[7] Dave Hughes said of the song: "Names can be destinies; titles can be too. So it goes with Kylie's most global hit, an iridescent earworm remarkably effective at its explicit mission of reprogramming your brain. Kraftwerk with an armful of million-dollar hooks and an international-scale marketing budget, its robotic after-hours pulse signaled the arrival of a minimal era in dance music. It still sounds like a future where everyone's coked up, wearing slinky dresses, driving sleek cars too fast on the autobahn en route to the coolest party in the world—and it still lives up to its title's promise."[7] In February 2010, NME put the song in their list 100 Tracks of the Decade at number 74.[8] Ash Dosanjh, noted that the song "Proved the Aussie songstress was more than just an impossible pop princess." She went on to say: "Whether you were an indie purest or a rock traditionalist, there was one certainty with Kylie’s 2001 hit, and that was that it wasn’t just the fodder of sugared dance pop zealots. For here was a song that encapsulated everything enviable in a well-crafted song. Catchy hooks, a salaciously cool video and lyrical content that did exactly what it said on the tin. Reaching Number One in over 40 countries, 'Can’t Get You Out Of My Head’ may not have been the last decent song that this Neighbours alumnus released, but it is arguably still her bes You CANNOT use the name of God, or religion, to justify acts of violence, to hurt, to hate, to discriminate- Madonna
authentic power is service- Pope Francis | |
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Yay!! First song I ever heard from Kylie! I was 6! I loved her since then. | |
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this makes me feel so fcking old
and true love lives on lollipops and crisps | |
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yah You CANNOT use the name of God, or religion, to justify acts of violence, to hurt, to hate, to discriminate- Madonna
authentic power is service- Pope Francis | |
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And this makes me feel so young. | |
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SIX?? You're a baby!
Anyway, LOOOOVVVVEEE this entire album!!! "Get up off that grey line" | |
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And yessss, me too!!! One of her best.
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Ridiculous! What are you? 20? 21? | |
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5th GRADE??? You're a baby too! "Get up off that grey line" | |
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20 Pistols sounded like "Fuck off," wheras The Clash sounded like "Fuck Off, but here's why.."- Thedigitialgardener
All music is shit music and no music is real- gunsnhalen Datdonkeydick- Asherfierce Gary Hunts Album Isn't That Good- Soulalive | |
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LOVE ♪♫♪♫ ♣¤═══¤۩۞۩ஜ۩ஜ۩۞۩¤═══¤♣ | |
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LOVE ♪♫♪♫ ♣¤═══¤۩۞۩ஜ۩ஜ۩۞۩¤═══¤♣ | |
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this version..
LOVE ♪♫♪♫ ♣¤═══¤۩۞۩ஜ۩ஜ۩۞۩¤═══¤♣ | |
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The Blue Monday mix is my fav
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Never liked the video, never thought it did justice to the song.
AND WHAT A FUCKING FANTASTIC SONG! 2012: The Queen Returns | |
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