The Story of Body Language

[Edward]

For those who are interested!

Just reveals how little input Kylie actually had on it:

KYLIE MINOGUE BODY LANGUAGE INTERVIEW TRANSCRIPT
This interview is courtesy of EMI UK - parlophone.co.uk || Festival Mushroom Australia- fmrecords.com.au

1. So, your 3rd Parlophone CD is out November 17th. How long does it take you to make an album?

K: That all depends but this one I have to say is probably the easiest album I’ve ever made and some time ago I would have thought that it has to be difficult in order to be good. But no I don’t think that any more. I think that having signed with Parlophone and done Light Years and Fever, fairly quickly themselves, we’ve done all the groundwork, so getting to this point we’ve done our homework and this one was fairly easy. That’s not to say it was without its moments, but we did it pretty swiftly, in about 6 months. The last 2 albums probably took a bit longer, er, obviously the first one, Light Years, we were finding our feet a little more, though we did know that it was going to be a pop album , so we had our guidelines. This one for a start I’ve worked with songwriters and producers I’ve worked with before so that’s like a reunion. I walk into the studio and we’re all so happy to see each other. We know where we stand and what we do best and know how to work so that reduces a lot of time, I also think that I’ve done 2 pretty major tour s fairly recently and, I don’t know, I feel like I’m on a roll so this one was very, very enjoyable and I’m extremely happy with the result.

2. 'Fever', the last album was a 6 million seller world wide, and 'Cant Get You Out of My Head' a record that was just everywhere. Did you ever get tired of it?

K: Not really, no. I mean even if people catch you in the most awkward situation, you know everyone has days where you just want to be in your own space, which is becoming more difficult for me. But even in those times I think “That’s amazing, I’ve touched someone with a song or something that I’ve done”. So no, I’d have to say overall, no.

3. 'Can't Get You Out of My Head', from 'Fever', was such a big selling and big radio record! Was there pressure; that you might struggle to follow it up? 'Slow', the first single, has a nice retro feel, while at the same time being bang up to date. Tell us about the writing and recording of 'Slow'

There was. After the success of Can’t get you out of my Head, I felt a little daunted by the prospect of how to follow, how do we have single #2? However we did, miraculously, Love at First Sight ended up getting more radio plays than Can’t get you out of my Head, and er I think that’s given all of us space to breathe as far as this album , as far as Body language is concerned. As big as Can’t get you out of my Head was, I think it’s just you know it just made space for us. I wasn’t so sure about that at the time that it was the biggest song in the world, I was, I just thought ‘Oh dear! What next?” But now we’ve proved we can follow it, hopefully we can follow it in a big way.

4. 'Slow', the first single, has a nice retro feel, while at the same time being bang up to date. Tell us about the writing and recording of 'Slow'

K: Slow I just think I just think it’s, the first time I heard it in its demo form I just thought Wow, this is great! Its really powerful in its simplicity, and the fact that it never actually gives you the release that you want. It just keeps you keeps you keeps you…er yeah I love it and I guess it does have a just with some of the sounds in it a slight retro feel. But I think it’s thoroughly modern, I have to say. Shall I tell you about recording that song? It was quite an interesting day. It was er it was the first day I’d worked with Emiliana and Dan, who co wrote that track, er I worked in a a studio with them, and they had all these sheep skin rugs on the …it must have been the sheepskin rugs! (From Australia I might add). Er, on the floor in the studio . And I think they’d been recording some guitar, so the microphones were really low, so it was the first time I’d ever recorded on my knees, you know, down on these lambskin rugs, and er it was the very day that there was this abduction story. I was not abducted, but there was a ‘looky- likey’ that had supposedly been. It was all set up by someone or other. So I arrived, working with these people. I’ve never worked before, we’d finished writing the song, I’ve got, you know, telephone calls and police and all kinds of things going on. In the end I just, it was another one of those days when I think ‘Is this my life? Is this really happening? OK well let’s just get on and record the vocals’ Er so I was yeah, maybe some of that’s come across with the atmosphere in the studio But I like I don’t think I’ve ever sounded like that on a record before, having my voice quite low, quite deep and very intimate. I think, even without the vocals it’s a sexy track, it’s as I said it takes you to a point and it doesn’t let you get any further. So I guess naturally the vocals I delivered were a reflection of that.

5. How did you hook up with all the writers and producers on the album?

K: Through my AnR. They had mentioned Emiliana few times and just tried to schedule everybody in to try and get them to work with them all and that’s, the song Slow they’d begun work on and as I said I’d just heard it, and it was similar to when I’d heard the demo on Can’t Get you out of my Head although that was a finished song. And she’s from Iceland, I hope I didn’t offend her because I said ‘Oh are you al like that because she seemed quite bonkers (crazy). But the two of them are very cute and seem to work, maybe it’s deceivingly simple, But it actually isn’t, I think that’s the trick with Slow as well it’s there’s not that many parts to it, but they’re the right parts. I have to say it was just a pleasure to work with them, in their little studio with the sheepskin rugs and everything was very lo fi.

6. 'Still Standing' is next, written by Ash Thomas - who's Ash Thomas?

K: Ash Thomas, pop trivia, is the ex boyfriend of Dawn Shadforth, who directed Can’t get you out of my head, Spinning Around and In your Eyes. That’s completely irrelevant, but anyway. Ash was, I think it’s safe to say, the starting point for this album. I was in the office of my AnR and we were just having, you know, a very broad discussion about where we think ere going, and its always difficult at that point, it’s like speaking in tongues. You’re trying to say what you want but it’s like, its like speaking in fashion saying ‘Er, it’s something but it’s nothing’ and everyone goes ‘Oh I know what you mean’ which is, you know we’re all making things out of thin air. Anyway they played me some rough demos which Ash had done which were mainly just sounds, they didn’t have a song on them. And we were all immediately pretty taken by that style. At that point I didn’t realise I had met Ash previously. And once I realised who he was, I was even more excited to go and work with him. And it was at that time we started throwing around the Scritti Politti reference, (which makes sense later on for another of the songs). But Ash is gorgeous, I loved working with him. He’s very amusing, because when we were doing some demos up he had to put in a few extra chords. He got out his chord book. I said ‘What are you doing?’
‘Oh I’m just looking up a chord’

He put it in. I mean it’s very there was a few instances like that which were really refreshing and I think that comes through on the album as well. Its not entirely polished everywhere and I think people are pretty wise these days to the fact that you can press a button and basically make someone sound decent. We didn’t really like to press that button so there’s, there’s elements of the song with my vocal that do sound fairly raw and imperfect and I think that gives something back to the record So Ash having to look up how to play a certain chord added to the charm.

[Edward]

7. As we said, there are lots of different writers and producers on the album. Someone has to hold on to the overall concept of what you want the album to be like? Is that you?

K:I try to. But it’s really hard to be objective when you’re writing songs, you know we might do 3 or 4 songs in 3 or 4 days. And all of them have a have an importance even if they don’t make it on the album. I might love a demo that I’ve done for a reason that isn’t the same, for a reason that isn’t good enough for it to be on the album. They’re all like little kids, you know, you have this creation and whether it’s a certain sound in the song or it’ s the lyrics in the song or it’s the delivery or it could be anything that attracts me to it. So I need someone with an objective perspective to be able to say – without hurting my feelings – that’s good but perhaps it doesn’t sit quite within the framework of the album. And indeed the framework keeps changing as we go along anyway, so its always a work in progress and I don’t recall in the beginning saying its going to be like this or like that we were far more general than that, in order to give you the freedom and the space to go in and see what happens.

8. Tell us about 'Secret |Take You Home'

K:This song pretty much arrived as you hear it and I re vocalled it. I think its really punchy, its cute, it’s got attitude, and the mention of me having to do a s s so called rap – I can hardly bear to say the word, it seems so unlike me – of course I , my creative director and best friend William, William Baker keeps reminding me of One Boy Girl, from Rhythm of Love, saying ‘It’ll never beat One Boy Girl!’ Anyway this er I just thought it was really cool and punchy song.

9. And 'Secret' has credits going to no fewer than 9 writers.

K:You know, songs often have a very coloured past. They might have something about them but it still doesn’t work, so someone else adds a bit, and someone else adds a bit so perhaps one day I’ll know its full history. All I know is it came to me in that form and sometimes it helps not to know who’s written it, so you just judge it as a song, you’re not coloured by ‘Oh God Ms Dynamite’s contributed to this’. I was completely unaware.

10. How did you pick the songs for the album?

K:I think that my AnR firstly re visited people, writers and producers, I’d worked with before. Secondly, they had a few people in mind, someone like Ash Thomas, who has done bits and pieces but hasn’t actually hit mainstream. So we tried to get a mixture of people we know and personally and we know they can deliver the goods, And then others who were more of an outside.

11. Next up, 'Promises'. Written and produced by Kurtis Khaleel, aka Mantronik. How did you get to know him?

K:Again through AnR. I met him, I met Kurtis in Los Angeles went into the studio with him and Karen Poole who’s a lot to do on this album, and yeah Kurtie comes from…It was very different working with Kurtie..Kurtie! Kurtis, because he’s far more kind of techno. He’s more about pressing the buttons and the sounds as opposed to coming from a more -I don’t want this to be taken the wrong way – but from a more musical area. But that was fine. Karen and I worked on lyrics and his concern was the sounds. And actually the songs of his that ended up on the album, the lyrics were done by Dave Billing. And so there’s times like that where we worked on demos and none of them actually made it. In fact., quite a few of the early demos I did, none of them have made it through. But without them we wouldn’t have made it to the next stage. So Kurtie yeah I first met him in LA then the tracks that we had on the album, were completed…. I recorded them in Spain.

12. 'Promises' is definitely a song from an assertive and strong woman, and not the only one on the album. Sexy - but strong.

K:I think you’re right! And a lot of what, that’s in the delivery and as I think I mentioned before to put it together the album was relatively easy, to record it was just enjoyable. I found it I just feel a lot more confident than I have before, and that makes you relaxed and your delivery is that much better.

13. Theres' a slower less frantic vibe across the whole album

K:That was one thing we had decided fairly early on, that we’re gonna take the speed back a bit. Were just gonna chill out a little bit, and yet it’s still grooves that you can you can move to, and it makes me think ‘Why was I ever going so fast?’

[Edward]

14. 'Sweet music' is interesting. It's a love song on one level; but it's also a track about recording a track.

K:I was in the studio with Ash Thomas and Karen Poole and I think we’d done some vocalling
On something else and decided ‘OK let’s do a demo ‘ and they’re lovely people to work with ,and so enthusiastic, and you know, you’re part of a team when you’re doing this. So we started…Sweet Music wasn’t called Sweet Music when we started. We were just throwing the concept around of writing a song about writing a song. And illustrating that with the music. So when we say ‘Put the hi hat in’ it comes in there…tst tst ..which is my favourite part of the song. And a line like ‘Put the Fairlight on the track’. I was asking Ash - I had no idea what a Fairlight was. And I said ‘Ash, what’s a term that’s something that you will only fiend in a studio?’ He said ‘Ooh, yeah Fairlight, there’s only about 5 people in the world who know what a Fairlight is’ We talk about putting a sample in. and then of course a sample comes in. So er yeah I think that the idea comes across. We had a bit of a stumbling block towards the end , but we got it.

15. Where does Body Language take you, personally and musically?

K:Well, Light Years was, was looking back somewhat at the pop element of my career, and just re owning that, reclaiming the fact that I am Kylie and I do pop. Then we moved to fever which was a little more progressive. And now we’re at the stage where we can we can go out on a limb and release Slow as a first single, which from the outset we all agreed was a very brave move but we thought it was the right move. Yeah and it came at the right time for me personally as well. I was “in a good place” as they say, and working with people who gave me a lot of inspiration and it was thoroughly enjoyable. I just skipped into the studio, and it made it, it just made it a breeze.

16. Right, 'Red Blooded Woman'. This stars the dynamic duo of Johnny Douglas and Karen Poole |ex Alisha's Attic.

K:Oh what a dynamo team! Johnny Douglas did quite a few tracks for me on Light Years. Then we skipped Fever, not sure why. He’s one of those people who, if you look at this body of work, it’s pretty impressive and spans a number of years. But again he’s just so delightful, and Karen Poole is coming up in the world of song-writing at the moment and she’s just a doll. She took this project so much to heart. We’d call each other and say ‘Is everything all right? Got what you need? How’s the track sounding? I mean really girly about the about the well being of these songs, and it was so nice to have another female to be working with on the album. So Re Blooded Woman is another track, Red Blooded Woman is a track that Karen and Johnny co wrote for me and what can I say? I think it’s just fabulous. So you can imagine it was very girly and when would do bvs (backing vocals) we just couldn’t tell who was who. It was the two of us like ‘Is that you or is that me?’ I mean we, it was just, I’m a really good mimic anyway so I can kind of blend in when I need to, but I found her really inspiring, she’s so down to earth and as I said she really put more in than just her song-writing talents, she really, really cared and I’ve got a history with Johnny and his engineer Organ Dave (which is another story) so yeahI mean it goes along with what you were saying about the album I think in general the album is more woman than girl, and that’s, that’s where we’ve come to. More curves and less angular.

17. Now -some top shelf music | so sexy it has to be kept out of the reach of the young. 'Chocolate' has to be a #1 hit, and it's so sexy!

K:Yeah, Chocolate had a… Chocolate, I think if there’s a moment of perfection on the album, perhaps Chocolate is it. And surprisingly it had a little bit of a bumpy journey to get to that place. Initially it had a rap section in the middle and there was talk about getting a someone to, getting a rapper to do that, and er I really didn’t want that. I just thought, you turn on the TV and that is nothing unusual any more. I don’t think it’s cutting edge anymore for me anyway. So this song was on, then it was off, then it was on again, the whole album was off, and it was really...this song was so important to the album that it was the reason that we, after having decided to release the album at the and of 2003 then it was delayed till 2004.
Then we got this song right had a new middle 8 written for it and then the album was back on and here we are! (Laughter). So Chocolate was, was a very a good learning curve for me. We recorded that, well it was the middle of summer in a tiny studio with the sun coming in. And we couldn’t have well there’s no air conditioner in there (so high tech!) Er, mind you, there was a fan. But the fan was Brrr didn’t help with such light breathy vocals, and the vocals are all breathy and light, and you’ve got to stack a million of them. And literally I was becoming woozy in the studio and er I’m a fighter, I’ll stay in there as long as I have to, but in the end I just had to say on the mic, I said ‘I’m not being funny guys but I think I’m going to faint can I just come in?’. It was all about timing – how long I could go with very little oxygen and so much heat., And when you’re doing that breathy type of singing it’s exhausting! But well worth it I think. It sounds really, really beautiful.

18. So you recorded in Spain. That sounds like a good idea.

K:Well I think I’ve discovered the way forward with recording. We recorded a chunk of the album in Spain in a beautiful studio called el Cortijo. And wow! It’s taken me how many years? 15 years to arrive at that point where you can go to a glamorous studio. Well when I say, it was glamorous but it was very relaxed as well. And aside from the fact that it was a beautiful studio with a view of the mountains, and you could look down to the port, it was basically all about the food. Because the chef, the cook Anita would arrive, and I swear everyone would scramble, scamper like dogs, like a dog that’s been left at home and the owner’s suddenly arrived back. ‘Oooh Anita, what’s for dinner?’ So she kept us strong, and there was a lot of rose involved, and it was just brilliant, brilliant. Not to, er, that much more productive, because when I’m at home, there’s the phone, the fax the e mail the this the that, and Oh My God I’ve got to, I really wish could have that wall painted or you know all those things that get in your way, and I hope that I could record like that again.

19. More Mantronik in 'Obsession'. More chilled out tempo. More 80's feel.

K:I love the sound of Obsession I have to say. That was the…Well basically you’ve got an octave of vocals two octave of vocals I should say. It just sounds different. I’ve loved exploring the way the different ways to use my voice, dependent on the track, and Obsession definitely stands out, it’s unique in its vocal delivery from the other album tracks. Er, on this album I’ve, they’re not songs from personal experience, they’re just songs. I have written from a very personal before, and I like both. As it happens this one was about the songs and then about which songs would fit together on the album . So it’s not so much about the personal ‘’I”.

20. What about the songs that don't quite make it onto the album? Is it a very difficult job to reject some that you really like?

K:It’s really hard, er it’s myself and my AnR and luckily there weren’t too many disagreements, and all the songs found their place and we found our acceptance of those songs. Er, I think initially you can cull a few fairly easier, because those ones that you put aside might be used as B sides or extra tracks or they might, maybe now I not their time. They might be revamped or whatever. And then I think when you’ve got your list of say 15, that are potentially , will potentially will make it, to cut that down to 12 that’s when it gets, the stress of ‘Oh my God this is it, it’s the final moment’ which songs are going to make it and which songs won’t. That gets a a little difficult but it er when you make your decision, even though that decision might have been hard to reach, once you make it, and you start to live with it as those 12 tracks, I found I became more confident with those. We’ve got 12 tracks, there were going to be 13, (I won’t say what the 13th song was) so I was it was a little hard to give up that one, but then you’ve got to almost put your blinkers on and say ‘OK let’s just pretend that one never existed and listen to the album with these 12 songs’ And then it made sense.

21. 'I feel for you' has a vocal sample in it. But what does it say?

K:I’m afraid I can’t help you with that because I have no idea either, and when I listen to this song I find myself doing probably what most other people will do, going ‘Yeh da sda do do ‘ I have ono idea but it sounds cool!

[Edward]

22. The track is full of rain and thunder sound effects. It has quite a filmic quality about it.

K:It’s funny you should say that it makes you think of movies because the delivery on this song, I decided to go a little bit Marilyn (Monroe) (laughs), descending the staircase. But in the context of a disco song, it was probably, I don’t know quite where that came from, but it works. Quite often, yeah, I do, I do have a visual imagery as I’m singing, because a lot of these are not about a personal experience. It’s like acting, you embrace that song and for those three and a half or four minutes you’re in that world. Then the next song you’re in a slightly different world. And I think coming from a an acting background is possibly what gives me the visual element as well, er that’s part of the reason for calling the album Body Language, is that that is something I can’t escape. , er whether I like it or not. Well sometimes I like it, sometimes it is, it’s purposely done. Other times it is absolutely not something that I had intended, but that’s part of my expression, that’s part of who I am and to try and completely back away from that is just, that’s never going to work. Er, this is just a bright summery rolling song, I mean I always think of this song in a car and people just nodding their heads.

23. Kylie is a role model, especially for young girls. Is that ever a burden for you?

K:No I don’t think so. I don’t take the responsibility of a role model lightly. At the same time I don’t let that rule my life. I have to be myself at the same time and the fact that there’s young girls in particular who will try to emulate my look from now… the fact that their mothers did it 15, 20 years ago. I think is incredible, it’s the most amazing compliment I could ever have and I see them at the concerts, they turn up. Sometime there’s 3 generations Nanna’s come as well, and I’m such a family person, I see that, and I just think ‘Oh if only you knew how happy you’re making me at this point.’

24. In the next track, 'Someday', there is a great lyric for the end of an affair: "I want my records back, To get my heart on track"

K:There is a moment of genius by Emiliana. Her lyrics are quirky, interesting and succinct.
(Sings) “I want my records back to get my heart on track”, that is brilliant. I think I say it 2 or 3 times in the song, it’s so good! But yeah, it does, that can summarise the end of a relationship. This song’s a little tricky, it’s not immediately clear what I’m saying, but I thin it definitely has some depth. And the fact that Green Gartside, who is the guy from Scritti Politti, who is the guy singing on it, that moment where he comes in, I collapse every time. I just, his voice is so amazing and it was…His appearance on this song really made the album come full circle, from beginning, from its initiation top completion, because Scritti Politti was one of our references, one of our sound references in the beginning. And I remember my AnR guy Miles saying ‘Yeah, wouldn’t it be great if we could get, yeah get the guy Green, if we could get him to do something I don’t know, something’ and we all go ‘Yeah yeah, whatever what are we doing next?’ And then, 6 or 7 months later, down the line, finally the calls to Green reached him wherever he was and he went into the studio and put a middle 8 on Someday, and it was, it just I just thought it was so cool, that he was a reference in the beginning and, Ash the producer was one of the first names that were mentioned and then that came to be. And I love Someday. Wood Beez (Scritti Politti hit from 80s) Ah! So I mean that was 85 I think, the Scritti Politti album, the one that I loved and 85 I was very impressionable at that time as a teenager, and particularly with music from England. It travelled to Australia very well (+laughter).

25. The 'voice' of 'Body Language' is undoubtedly that of an assertive woman.

K:Yeah I think it’s just a case of….None of these songs that are of a stronger nature are battering you over the head. It’s nothing like that. It’s just a confidence and starting to feel comfortable being 35 years old. |’m not singing what I was singing when I was 18 and they certainly don’t sound the same. So the songs that have that kind of strength, I probably couldn’t have sung them or delivered them the way I’ve done now, a few years ago.

26. 'Loving Days' next: back to the studios of Biff Stannard and Joolzs Gallagher. Back to Dublin.

K:Back to Dublin! I’d actually been on my first sailing holiday, which was wonderful. And literally got off the boat in Italy…sometimes my life sounds glamorous, it’s like I didn’t do it. “I just got off the boat in Italy” And, and flew straight to Dublin. And I’d already done a few days with Biffco (Biff Stannard and Jools Gallagher) previously, actually the first songs I demo’d for this album were with these guys in Dublin. Anyway, I arrive of this trip – they happened to know that I’d been on a boat because it had been in the press – and they had, I think 3 tracks knocked up, and they said “Well, we thought you might like to write one about being on the boat” and I said “Yeah” you know, I’m still floating from this vacation. And that’s how Loving Days came about. So there’s a few kind of ‘Diving in the blue’ references we tried to not make it sound literally like I’m in er, I’m decked in yachting gear, but I think it’s very, very pretty.

27. What do the strings add, on a track like 'Loving Days'?

K:They came at the last minute, it was something that was on the track - a synthesized version, initially – and of course we were all saying ‘Oh wouldn’t it be great to have strings’ and eventually when the track was delivered it was crying for strings. T really need them, and Ithink they’re lovely on this track, because it’s not, sometimes when the strings are puton a track it suddenly becomes all about he strings, and this it just added enough and gives you what you need for the emotional, you know, emotional push in the track.

28. The last track is 'After Dark', which sounds like another hit single. Back to the hit writer Cathy Dennis.

K:After Dark was written by Cathy Dennis and Chris Braide; and she apparently came rushing into the offices of Parlophone the day after she had written this track. Because I know having bumped into her at a musical lunch something or other. And she said to me ‘Oh I’d really like to be involved in the album’ but of course she’s a very busy lady. So it was er good news for probably her and myself, when she had a track that she thought would be appropriate for me and for this album. And of course she wrote Can’t Get you out of my Head so we, we do have, we don’t go back such a long time, but we go back in a big way.
And of course Cathy delivers quality. And as soon as I got After Dark it was like ‘Well can’t argue with that, she’s done it again!’ And er went in and recorded that with her and Chris. It was very straightforward. The demo, again it’s like some of the other tracks on the album where their strength is their simplicity. There’s really, it’s not overbaked.

29. So the album is done and ready to go. What about the lights, the amps, the drums, the dancers, the halls??

K:What you’re trying to say is TOUR, 4 little letters, yes. Well, as we speak, my band are rehearsing for a one off show we’re going to do on November 15th in London. Er and I’m sure that’s going to get the juices flowing and the addiction will come back as far as touring goes. It’s, I can’t tell you how much it’s helped me to do the two big tours that I did in the last 3 or 4 years. So the prospect of doing another one is very tempting. I just need to find my strength to actually say ”Yes it’s on. Yes book the venues. Yes the next, that 6 months of my life is gone. But it’s the moment where everything makes sense, where you have people in front of you., The energy in the venue is just incredible. It’s a case of the chicken and the egg because I’m giving everything I’ve got, but they’re giving me everything they have and the cumulative er experiences that they’ve all had with me, although they’ve never met me, but with me over 15 years, so it’s sensational. And that’s where you really find out what works, what doesn’t work. They’re very honest, they’ve paid money, they’ve booked babysitters, they’ve made a big event to come to this show, and I’m always aware of the effort that they’ve put in. And er if they love it, then you know, and if they’re not so crazy about some parts, you know as well. And that’s good to have that honesty. So you shouldn’t have asked me that question because see, I start to get excited about it, so perhaps there’ll be a tour next year……


To be fair to her though, she is VERY honest. Almost TOO honest.

[Joey]

You make it all sound like this is something unusual. To be honest, by the sounds of things, she had more creative input than most pop artists would have.

[Sheena]

And its ANOTHER Kylie thread

[Suedehead]

And they act surprised when I go on anti-Kylie rampages...

... She sounds really spacky in most of this interview, by the way.

[Joey]

Originally posted by Suedehead
... She sounds really spacky in most of this interview, by the way.
From reading it, it seems to have been translated from a foreign language.

[Donna Winter]

Originally posted by Joey
From reading it, it seems to have been translated from a foreign language.

That's KYLIE

[Sheena]

Originally posted by Joey
From reading it, it seems to have been translated from a foreign language.

not at all Id say...

[Agnetha]

Put Kylie stuff in the gay forum. DUR

[lolly]

I can't be arsed to read it.

[Edward]

Compare that to the Impossible Princess interview:

TOO FAR

I wrote ‘Too Far’ very quickly and in a very bad state! It comes from where it sounds like it comes from, I think. The first lines are ‘caught up in this house, trapped my very own self in the snare of my mind’ which is exactly the way that I felt. I had to leave my house, there was too much in my head and in my house, and so I walked down the street to the café that I go to a lot, I just started writing. I think I was angry and I was hurt, all these really nasty emotions, that I just had to escape, I needed some air. I think as I was writing it I imagined performing it that way; the verses are the way that I felt, quite claustraphobic, couldn’t find a way out, and then in the choruses is probably what I wanted to let out more, ‘help me, this time I’ve gone too far’. So that was a nice form of release, and it doesn’t really sound like anything I’ve ever done before.

COWBOY STYLE

That I wrote early on in the making of the album and it’s basically about meeting my boyfriend, and the way that when you start a fresh relationship with someone they can bring out so many different emotions in you, and make you question yourself a bit more. When I met my boyfriend he had a very unusual look to say the least, so he made me think of a lot of different things, kind of like the cowboy coming into town, a bit like a monk, a bit like this cyber-creature. So, that’s basically about him coming into my life.

SOME KIND OF BLISS

‘Some Kind Of Bliss’ was written by James Dean Bradfield and myself. He had a couple of pages of lyrics of mine and he took half of the song from one set and the other half from another set and put them together, which I found interesting because it’s something that I wouldn’t have done. In my mind they were two separate things, but they actually do work together. To me, it’s about being able to not necessarily shut your eyes and feel that someone’s there, but the way that if you’re close to someone whether it’s your lover or your best friend or your family or whoever, the ability to feel like they’re with you when they’re actually millions of miles away. It’s very reassuring and it happened to me at one point and I found myself smiling to myself, one of those very cheesy things that I could see in a movie and think ‘oh God, please, stop it’ but those things happen and they’re reassuring.

DID IT AGAIN

‘Did It Again’ is basically, I’m telling myself off in this song. Whereas some of the songs are from my heart or my gut or from my head, this one I really feel like it’s a little voice on my shoulder, and even when I recorded the song I think I was snarling at myself, just thinking ‘you fool! You just had to go and you’ve done it again!’ I think a lot of people you say it to yourself time and time again, ‘you did it again, why haven’t you learnt yet to not do the things you do!’ The few people I’ve spoken to about that song understood it as me talking to myself which I was glad about because I thought it might sound like I’m telling someone else off, but actually I’m telling myself off.

BREATHE

‘Breathe’? I wrote ‘Breathe’ in Japan. I think at that time I felt very still, and restrained and quiet, but actually there’s a lot going on and that’s typical of me. A lot of people if they’re upset or angry or any of those things, will bring it out, but me I keep it quiet. My girlfriend says to me ‘you don’t realise how loud you are when you’re silent, the thunderclouds can just roll over’. I think it was a point like that where I keep saying ‘I’m thinking, thinking about it all’ and that’s just typical. ‘What’s wrong?’ I’m thinking, I’m deciding what’s wrong because I’m not clear about it in my head. And so by saying ‘breath, it won’t be long now’, just trying to stay calm until I reason what’s going on in my head

SAY HEY

‘Say Hey’ is a late night or early morning track. I was in the bath and was thinking about calling my boyfriend, not necessarily to speak with him, but just to leave a message, just to feel like I’ve had some contact. Actually I don’t think I wanted to speak to him, but just to feel like there was some communication. It’s slightly dreamy, as I say, late night.

DRUNK

‘Drunk’ has nothing to do with being drunk! But the feeling of almost being angry and having so much feeling for someone, the feeling of not being satisfied until you take all. Don’t just take some of me, there’s so much that’s screaming to come out and be involved with you and to be passionate or be mad or be happy, you know every possible emotion that you could have with someone, that kind of desperate feeling of wanting to explore all that. I’m saying ‘I’m not happy drunk till I’m drunken, till you take all of me’.

I DON’T NEED ANYONE

‘Don’t Need Anyone’, that’s another song written with James Dean Bradfield. That one I find a bit more difficult to explain. Mainly that makes me think of driving in a car with the top down, which has nothing to do with the lyrics! Maybe that song, that’s what it is to me because again James had taken different lyrics that I’d written and pieced them together with other ones, that it isn’t a story in its entirety to me or it’s not based on one emotion like a lot of the other songs are. It’s a break, it is driving with the top down, because it’s not something that I was compelled to put every word down. I like the sentiment anyway, I don’t need anyone except for someone that I’ve not found, it’s knowing that there’s someone there but at the same time you can do perfectly well on your own. Which is something I truly believe in and with relationships it’s wonderful to be with someone, but you don’t need to be with someone. People are there at different times in your life when you both need each other.

JUMP

‘Jump’ I wrote with Rob Dougan, and… I think I’m just trying to, I’m saying whatever I feel like, let me be that way. I mean, that’s a personal story, but even in a more general sense, if you’re cranky one day or you’re in a business situation you try not to let these things interfere. Or if you’re overwhelmingly happy, it can apply to all different scenarios. But here I’m just saying if I’m sad if I’m happy if I’m dirty if I’m whatever, just accept me that way. It’s a lesson to myself to try to let myself do that because I’m like the worst one of putting constraints on myself. I know thatsociety does and business does and other people do, but we put it on ourselves too. By saying ‘run to the future and jump’, I say ‘I’m eager and ready it only hurts sometimes’, I feel like I really have a lot of enthusiasm to go forward but it’s like jumping off a cliff, you have to let go, I have to let myself be whoever I feel at that point in time. Because it is scary jumping off a cliff! You might land fantastically and you might never touch the ground, you just don’t know. So aside from saying be whoever I feel, don’t be afraid of the future because it will come anyway.

LIMBO

I wrote ‘Limbo’ in Spain, gosh I’ve almost been round the world already! I wrote that in Spain, but it was actually about a time where I couldn’t see the person I wanted to see because of beurocracy and I basically couldn’t leave the country. And I felt so trapped, I’ve just felt like I was in limbo, there was no other way to describe it. I say ‘I see them all smiling those all around to me, they tend to my wounds’ everyone was saying ‘don’t worry it’ll be okay, just a couple of days’. And I was like, ‘I can’t wait a couple of days! Yes, yes, you’re all being very helpful, but it doesn’t make any difference to me at this point in time, I’m completely trapped!’ Actually I used these lyrics in a different form in another song, which was a very pretty polite song, and so I just didn’t feel they were right that way. When it came time to write ‘Limbo’ I was with Dave Ball and Ingo Bauk and they just had some groove going, that again I’m flipping through the pages of my notes, and the lyrics to this song found their home. We actually used the demo vocals because it was just one of those moments, I was saying ‘are you ready? Are you ready? Quick! I need to record it now!’ So I’m very pleased that that found its place

THROUGH THE YEARS

‘Through The Years’ was another subconscious moment, I wrote everything at the end and asked myself why I’d kinda written that. To me, it’s self-explanatory, it’s about a time with someone and my feelings about it at the moment. It’s, yes it’s slightly bitter, but I don’t think it’s nasty. Like from being heartbroken you go through so many different phases of emotions, and this is a story from years ago that you think has completely been wiped away. But I was speaking with a couple of friends and this ex-boyfriend’s name came up in conversation and a particular story about him that at the time I just brushed away and thought, hmm, oh well. Three days later I find myself churning out lyrics for a reason that wasn’t apparent to me at the time but of course then looking at the lyrics as a whole it made complete sense and I thought oh my god. I found it so interesting that all of this just came out, and the way that I’m singing it I hope people can relate to it anyway, especially the girls.

DREAMS

‘Dreams’ is based on Impossible Princess. They are the dreams of an Impossible Princess, they’re wanting to have everything, wanting to have the impossible but none-the-less wanting it all. Not wanting it to be greedy, but just wanting to experience everything.