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Kylie Minogue’s ‘Body Language’ 20th Anniversary Factfile

In 2022, Kylie Minogue was riding the crest of a wave with a second career peak thanks to the global success of her eighth studio album ‘Fever’ and the supporting tour. So how would she follow up that success? She would surprise us all with the more experimental ‘Body Language’ which was influenced in the main by 80s funk, R&B and electro.

I’ve compiled 20 things about the ‘Body Language’ era in honour of its 20th anniversary. Read my…body language…facts, below!

• ‘Slow’ was released on 3 November 2003 and is, to date, Kylie’s only UK no.1 on which she has a writing credit (alongside Dan Carey and Emiliana Torrini).   It is the seventh of Kylie’s seven UK no.1 singles and has since been a live favourite appearing in numerous guises including mash ups with Donna Summer’s ‘Love To Love You Baby’, Human League’s ‘Being Boiled’ and David Bowie’s ‘Fashion’.
• The video to ‘Slow’ was shot at the Montjuïc Municipal Pool with stunning views across Barcelona. The pool was built especially for the 1992 Olympic Games and there’s a nod to this with a diver somersaulting through the air to start the video.
• To celebrate the launch of the album, Kylie put on a one-off album ‘Money Can’t Buy’ concert on Saturday 15th November in London.  Kylie opened sat on a black girder raised high off the stage, to recreate the iconic album cover, whilst singing ‘Still Standing’. It reportedly cost over £1million to stage, with fans having to win tickets to join invited music industry types and VIPs.
• Speaking of the iconic album cover, Kylie looked stunning in the various promo shots taken for the campaign, channeling Brigette Bardot in her “period that was the perfect blend of coquette and rock n roll.” As explained by Kylie at the album’s press conference.
• The album ‘Body Language’ was released on 17 November 2023 in the UK and peaked at No.6 on the Official UK Albums chart. It went to No.2 in her native Australia and reached No.42 on the US Billboard Album chart. It has gone on to be certified platinum in the UK and double platinum in Australia.
• Track 2 on the album, ‘Still Standing’ is a Prince-esque number that was originally written and recorded by upcoming singer of the time, Alexis Strum. When her music career hit a roadblock before she could even release her debut album, this song found its way to Kylie. Today, 20 years on and Alexis’ album ‘Addicted’ has finally been released on streaming and includes her version of this song.
• Pop girls rapping seemed to be a bit of a trend in 2003; Madonna told us about yoga and pilates on ‘American Life’, Dannii told us how she likes to ride speakers like ponies on ‘Neon Nights’ cut ‘Vibe On’ and now Kylie was asking us to ‘buckle up baby’ on ‘Secret (Take You Home)’. One of the song’s writers was none other than Ms Dynamite who is no stranger to rapping herself.
• ‘Secret (Take You Home)’ also features a sample of Lisa Lisa & Cult Jam’s 1985 UK Top 15 hit ‘I Wonder If I Take You Home’ with Kylie singing the line ‘I Wonder If I Take You Home’ as part of the song’s chorus. This track is rumoured to have been in the running to be the second single and a promo single version was issued in Taiwan.
• Carrying on with the 80s inspiration for the album’s soundscape, one of the most experimental tracks is ‘Someday’ which includes vocals from Scritti Politti’s Green Gartside.
• Another 80’s name appears on the writing credits for the album with producer (Kurtis) Mantronix of ‘Got To Have Your Love’ fame writing and producing on the tracks ‘Promises’ and ‘Obsession’.
• Karen ‘Kaz’ Poole formerly of Alisha’s Attic had switched to writing songs for other artists, and just a year earlier she cowrote Dannii’s ‘Put The Needle On It’ (and several other album tracks on ‘Neon Nights’ ).  Kylie must’ve been impressed, choosing to work with Kaz on ‘Sweet Music’, ‘Chocolate’ and ‘Red Blooded Woman’. Johnny Douglas joined them writing and producing on the latter two which of course, went on to be singles.  He had previously worked with Kylie on tracks on 2000’s ‘Light Years’ album including fan favourite ‘Disco Down’ as well as working with the likes of George Michael.
• Both the ‘Slow’ and ‘Chocolate’ videos (as well as the Money Can’t Buy concert) were choregraphed by Michael Rooney who is also responsible for the dance moves on Fatboy Slim’s ‘Weapon of Choice’ and ‘Praise You’ and Bjork’s ‘It’s Oh So Quiet’ to name just a few. He is also behind the iconic moves in Kylie’s ‘Can’t Get You Out Of My Head’ video.
• Speaking of CGYOOMH, Cathy Dennis who co-wrote that song also contributed the slinky ‘After Dark’ for ‘Body Language’ alongside Chris Braide who’s credits to that point included Emma Bunton and Victoria Beckham amongst many other pop stars of the Noughties.
• Cathy also wrote ‘Toxic’ with Kylie in mind, but it was thought to not be right for the direction that ‘Body Language’ was taking; it went to Britney Spears for her ‘In The Zone’ album. Interestingly, Kylie’s musical director (and oft co-writer/producer) Steve Anderson, co-wrote the track ‘Breathe on Me’ on Britney’s ‘In the Zone’ album, and it’s always felt like it could have been a great Kylie track to me. In November 2003, ‘In The Zone’ and ‘Body Language’ were released on the same week with the former entering at No.14 and Kylie at No.6 (as mentioned above) on the Official UK Album Chart.
• All is fair in chart wars though and Britney would have her revenge in March 2004 when ‘Red Blooded Woman’ became the second single release from BL, entering the UK chart at 5. Meanwhile, No.1 on the UK Official Singles Chart was a new entry for ‘Toxic’.
• Third single ‘Chocolate’ was reportedly due to include a rap by Ludacris, but this was never officially released, although a version has since leaked online with his rap included.
• Like most of her albums (after the PWL era) Kylie records many more tracks than are released and this era was no exception. In a slightly karmic moment, one of those unreleased tracks, ‘I’m Just Here For The Music’ ended up being recorded by Paula Abdul. She of course co-wrote Kylie’s No.1 single ‘Spinning Around’ which she was going to release herself before her plans changed.
• Another unreleased BL era track ‘Boombox’ got teased some 5 years later on Kylie’s X2008 tour and an official release (albeit in a new remixed version) on the remix compilation simply called ‘Boombox’ and featuring remixes of all Kylie’s singles from 2000 – 2008.
• Biff Standard co-wrote and co-produced the beautiful ballad ‘Loving Days’ on this album; a euphoric track that wouldn’t have sounded out of place on ‘Impossible Princess’.  They first worked together on ‘Light Years’ and their creative relationship is still going strong today with Biff having seven writing/production credits on Kylie’s current album ‘Tension’ .
• Ahead of the official BL album announcement a leaked track list with the album title ‘City Games’ was posted online with 12 tracks complete with writer/producer credits. It was obviously debunked when the official title and track list for ‘Body Language’ were revealed. However, as well as the track ‘City Games’ later being released as a b-side to ‘Chocolate’, two other tracks have since been confirmed, and the list of credits for tracks on the rumoured ‘City Games’ album includes many of the writers and producers who did contribute to the actual BL album, albeit with different tracks. It remains one of the mysteries in Kylie folklore!

Buy ‘ Body Language ‘ and ‘Body Language Live’ DVD now. Listen to ‘Body Language’ below:

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REVIEW: ‘Body Language’ – Kylie Minogue

Kylie minogue – “body language”.

Reviewed by Christopher Sm ith

The enormous success of “ Fever ” raised expectations higher than ever before. How could it be topped? Would it be bettered? Following her hugely successful tour of 2002, Kylie paused only briefly before beginning to write and record its successor. Initially the project was called “City Games” with a number of trendy dance tracks written and recorded with the likes of Stannard and Gallagher and Karen Poole. Johnny Douglas would later come on board, together with new ‘blood’ including Ash Thomas, Kurtis Mantronik and Chris Braide, amongst others. The album that would become “Body Language” began to take shape during the Summer of 2003 with recording taking place in London, Spain and Ireland.

With kylie herself co-authoring around half of the tracks, this would test the strength of her career and her endurance like no other release to date. particularly as the us had finally succumbed to kylie fever the previous year. its follow up would need to keep her new found success stateside as well as the rest of the world, where she was more established and loved. so let’s check out this groove and put some vibes on….

The first taster of “Body Language” came from the lead single “Slow” in November 2003. It’s an electro dance number with deep vocals from Kylie. The keyboards build during the verses and choruses till it eventually bursts into life on the final chorus. The title of the album comes from the line in the middle-eight “read my, body language”. The song is infectious with its repetitive lyrics and hypnotic rhythm and is definitely very different from any lead single from Kylie so far. It was hugely successful upon release topping the singles chart in the UK and Australia and reaching the top 10 in 18 countries worldwide. It became her third track to top the US dance hot play chart and made No.91 on the Billboard singles chart.

2. still standing.

The new feel of “Body Language” continues with this next track, another groovy, electro dance number with a superb synth beat. Kylie is clearly confident about her position “I’m still standing, keeping you dancing yeah”. Later on she regales us with “do you want to hear me sing pop, cause I don’t think I want to stop, and I love it when my beats drop”. Overjoyed. A potential unreleased single…?

3. secret (take you home).

Kylie samples Lisa Lisa & Cult Jam’s 1985 hit “I Wonder If I Take You Home” for the next track as she keeps the sophisticated beat going. “Rushing up on you like a freak in the fast lane, I’m on a mission to whip you into a hurricane” Kylie tells us all at the beginning. “Here’s my secret, I’m a girl who likes her fun, and if you can keep it then you just might be the one”…I can keep a secret, and you can take me home!

4. promises.

“Promises” is another great slice of polished pop-dance, courtesy of Kurtis Mantronik. Kylie’s vocals are soft and sexy set against the electro beat and synth backing track. This was rumoured to of been either the second or third single release, but it never materialised. It has a great Summer feel-good factor about it, and it’s a shame it wasn’t.

5. sweet music.

The groove and the funky beat continue with the stupendously awesome “Sweet Music”. It clicks right into place from the word go and “puts the fair light on the track” too! This just oozes style and class, with any number of superb lyrics, most notably “every heartbeat babe is the soundtrack to your life”. It certainly is. Wise words.

6. red blooded woman.

More trendy dance now with this track written by Karen Poole and Johnny Douglas, which allows Kylie to purr with all her sexual prowess and reel with diva diviness. Like “ In Your Eyes ” from the previous release, we are reminded of her 2000 hit “ Spinning Around ” again as Kylie is clearly moved by her man “you got me spinning round, round, round, round”. This was the second single release in March 2004 and peaked at No.4 in Australia and No.5 in the UK, as well as reaching No.24 on the US dance hot play chart.

7. chocolate.

If you thought “Falling” (1994) was the breathiest song that could be performed by Kylie, then think again. “Chocolate” is a flood of that oh so sticky, sweet confectione ry, laced with Kyl ie’s whisper-quiet, sensual vocals that will make hairs everywhere stick up and leave your mouth gaping wide. The slow, penetrating beat of the backing track will make you groove and gr ind, building to epic synth strings and a distant hint of a trumpet. This was the third, and ultimately, final single to be taken from the album, reaching No.6 in the UK, No.14 in Australia and charting top 10 in five other territories .

8. obsession.

Back to more fast-paced dance now as Kylie tells us “you don’t need love, it’s a question of obsession” and later warns that “obsession is a dangerous state of mind”. This is the second track produced by Kurtis Mantronik and effortlessly flows as a continuation of “Promises”.

9. i feel for you.

Thunder and rain open this track, co-written by Liz Winstanley (“ More, More, More ”). Its trippy and definitely has that edge like no other track on the album. “Flowers grow, they’re everywhere you go” Kylie tells us at the beginning. They certainly do!

10. someday.

“Someday” follows on from the previous track. It’s darker with a funky underlying tone. Co-written with Icelandic singer Emilíana Torrini (who also co-wrote “Slow”), Kylie’s stark words at the beginning serve as a warning to whomever has bruised her heart: “Precious stone, life goes on, you have abused and used me, now I’m going home”.

11. loving days.

The funky groove still remains, but “Loving Days” is very much the big ballad of the album. And what a song! With the backing of a full string orchestra, Kylie’s tender voice sweeps across the melody and rises continuously till the spine-tingling middle eight when both strings and voice are unleashed. This is arguably the most epic offering since “ Put Yourself In My Place ”, and definitely one of the standout tracks on this album.

12. after dark.

Pour yourself a short, put your feet up and just chillax as we soak up the seductive “After Dark”. Written and produced by Cathy Dennis and Chris Braide, this sultry number is a perfect way to wind down after a hard day. “Wanted, your name is on my poster and you’re wanted”, she sings with delicious delight, and who didn’t have one of Kylie on their bedroom wall as a teenager?!

With highly polished and stylised artwork and kylie sitting astride the albums title in full brigitte bardot guise, “body language” was released in november 2003. critical reception was favourable, with one citing it as “stylish without being smarmy, retro without being ironic”. following a hugely successful album is always difficult and while “body language” was not “fever2”, it was far from being a commercial failure., it entered the uk album chart at no.6 (its highest placing) and was platinum certified there. it peaked at no.2 in australia and made no.42 in the us, as well as charting high across europe and the far east. perhaps the lack (once again) of any world tour hampered the potential global phenomenon that its predecessor enjoyed. nevertheless, “body language” still sold a good few million copies the world over and perhaps won some new fans along the way., kylie would close 2004 with the release of her second hits compilation “ ultimate kylie ” which would, indignantly, surpass “body language” in units sold. this was supported by the sellout “showgirl” tour that took to the road in early 2005, and ended abruptly with the most shocking and upsetting news of all., for all things kylie, album reviews, live performances and much more click here, if you enjoy what you read on this site – feel free to donate and show your support…click to donate any amount you like, every little helps – and don’t forget to download the app , let us know what you think... cancel reply.

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Body Language

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Body Language is the ninth studio album by Kylie Minogue , released on 10 November 2003 by Parlophone. Following the massive commercial success of her eighth studio album Fever (2001), Kylie enlisted a diverse group of writers and producers to aid in creating a new album, including Cathy Dennis, Dan Carey, Emiliana Torrini, Johnny Douglas and Mantronix among others. Influenced by the musical works of the 1980s and artists like Prince and Scritti Politti, Body Language musically differs from Kylie's previous albums, which mainly featured disco-oriented dance-pop tracks, and instead explores genres like synthpop, electroclash, R&B, and hip hop. Many tracks in Body Language contain references to songs from the 1980s and lyrically, the album touches upon themes of enjoyment, flirting, and sex.

Three singles were released from Body Language. " Slow " was released as the lead single in November 2003 and was a commercial success, peaking at number one on the singles charts of Australia, Denmark, Spain and the United Kingdom. " Red Blooded Woman " was released as the second single in March 2004 and reached the top five in Australia and the United Kingdom. " Chocolate " was released as the third and final single in June 2004 and peaked inside the top 10 in the United Kingdom. Kylie performed a one-off concert show held at entertainment venue Hammersmith Apollo, London, on 15 November 2003 to mark the release of the album. No tickets were publicly made available for sale and only fans with invitations were allowed to attend the show, which was entitled " Money Can't Buy ".

Upon its release, Body Language received generally favourable reviews from music critics; many complimented Kylie for experimenting with new genres and the overall production of the album. Some critics, however, said that many songs lacked catchy material and were not suitable for dancing. Commercially, Body Language performed well, although it was not as successful as Fever . It peaked at number two on the albums chart of Australia and was certified double-platinum by the Australian Recording Industry Association (ARIA). In the United Kingdom, Body Language peaked at number six and was certified platinum by the British Phonographic Industry (BPI). Elsewhere, the album performed well in Austria and Switzerland. Body Language became notable for displaying another change in Minogue's persona and is cited as an example of her numerous "reinventions".

• 1 Background and development
• 2 Musical styles and lyrical content
• 3.1 Singles
• 3.2 Promotion
• 4 Critical reception
• 5 Track listing

Background and development [ ]

The work of various artists from the 1980s, such as American singer-songwriter Prince ( pictured ), influenced the development of  Body Language .

In October 2001, Kylie released her eighth studio album  Fever . The disco and Europop-influenced dance-pop album became an international commercial success, debuting at number one on the record charts of Kylie's native Australia and the United Kingdom. It was Kylie's first album to be released in the United States since her second studio album  Enjoy Yourself  (1989), and became her biggest commercial success in the region after peaking at number three on the  Billboard  200 chart.  Fever  was certified seven-times platinum in Australia by the Australian Recording Industry Association (ARIA), five-times platinum in the United Kingdom by the British Phonographic Industry (BPI), and platinum in the United States by the Recording Industry Association of America (RIAA). With worldwide sales over six million copies,  Fever  became Kylie's highest selling album to date. The success of the album, particularly in the US, was credited to the commercial impact of its lead single "Can't Get You Out of My Head", which reached number one in 40 countries, including every European country except Finland, and Australia and New Zealand. "Can't Get You Out of My Head" sold over five million copies worldwide, becoming Kylie's highest selling single to date and also one of the best-selling singles of all time.

Soon, Kylie began work on her ninth studio album  Body Language . Aiming to create a dance-pop album inspired by electronic music from the 1980s, Kylie enlisted collaborators such as Cathy Dennis, Dan Carey, Emiliana Torrini, Johnny Douglas and Mantronix. In an interview with VH1, Kylie explained how 1980s music, had influenced her, saying:

Talking further about Scritti Politti, a British post-punk band, Kylie reminisced about her collaboration with the band's frontman Green Gartside, who provides vocals on the track " Someday ", saying, "To this day I haven't met him! I left a message on his answering machine, saying, "Hi, it's Kylie! I just wanted to say thanks so much! You sound brilliant!" "After Dark" was co-written by Dennis, who had previously co-written "Can't Get You Out of My Head" for Kylie. Torrini, who co-wrote "Slow", revealed how she was approached for writing the song, saying "It was like I had just accidentally walked into the line of fire with, "Hey! You There! It was all quite surreal. I still think Kylie's people were trying to call Jamelia, and they just got the wrong number. It'd be much more funny if that is how it actually happened". The recording of  Body Language took place during the summer of 2003, in locations such as London, Ireland, and Spain.

Musical styles and lyrical content [ ]

Inspired by music from the 1980s,  Body Language  deviates from Kylie's usual disco-influenced dance-pop style, evident on albums like  Light Years  (2000) and  Fever , and instead explores genres like synthpop, electroclash, club and R&B. In comparison to her previous work,  Body Language  is a "slower-burning record" and begins with the song "Slow", a "minimal" and simple track which serves as a primary example of the synthpop-styled production of the album. Adrien Begrand from PopMatters compared it to " More More More ", the opening track of  Fever , saying "In contrast to the pulsating, hi-hat driven dance beat of  Fever's "More More More",  Body Language  gets off to a more understated start". Other synthpop songs on the album include " Still Standing " and " Promises ", which make use of "buzzing, low synth lines driving the beats, and chord flourishes that sound straight out of 1984". The former track also displays influences of nu-disco and club music. Many songs on  Body Language  are influenced by R&B and hip hop music, two genres Kylie newly experimented with on the album. "Red Blooded Woman" "blends the 1980s sound with an almost garage-like beat" and contains a "Boy! Boy!" hook and "la la la" bridge. Critics felt its production was similar to that by American hip hop and R&B producer Timbaland. Elements of funk are also present and are notably clear on tracks like " Sweet Music " and " I Feel For You ". " Secret (Take You Home) " received considerable coverage as it features a "coquettish" rap section delivered by Kylie.  Body Language  also contains ballads such as the quiet storm-influenced "Chocolate" and "Obsession". Kylie's vocal delivery on the album is mostly seductive and breathy in tone, such as in songs like "Slow" and "Chocolate", although the track " Obsession " features raspy vocals.

Critics noted references and similarities to 1980s pop music throughout the album. Adrien Begrand from PopMatters found the hook of "Sweet Music" similar to those in songs by Prince and INXS. "Still Standing" was described by Helen Pidd from  The Guardian  as "a magnificent blend of Prince's "Kiss" and Peter Gabriel's "Sledgehammer"". "Red Blooded Woman" contains a reference to British band Dead or Alive's 1985 song "You Spin Me Round (Like a Record)", in the line "You got me spinning round, round, round, round like a record". The title of "I Feel For You" is the same as the 1979/1984 song by Prince and Chaka Khan, although it is not a cover of the song. "Secret (Take You Home)" directly refers to urban contemporary band Lisa Lisa and Cult Jam's 1984 song "I Wonder If I Take You Home", both in its title and refrain. The line of the song in which Minogue sings "don't confuse emotions with the pleasure principle" also refers to American recording artist Janet Jackson's 1987 song "The Pleasure Principle".

Lyrically,  Body Language  touches upon themes like enjoyment, flirting, sex, and "partying like it's 1987 all over again". In an interview with VH1, Kylie was asked why the lyrics on the album "sound more personal than they might have been a few years ago", and she responded by saying "Some of that could be just chance! I wrote lyrics that were intensely personal to me on an album a few years ago. Maybe people know me better now, and therefore, if a songwriter pitches me a song, they might tailor it [to fit me]. I get the lyrics of a tune and interpret them my way". Although the lyrics of "Slow" seem like an invitation to the dance floor, Kylie revealed that "it's about how time and space have a different meaning when you meet someone [you really like]". In "Sweet Music", Kylie sings about the "magic of the modern singer/producer partnership" in lines like "I think we're on to something/Your taste it mirrors mine/So hot and in the moment" and "Let's make this demo right". The song also makes use of double entendre in some lines. Similarly, "Chocolate" is "packed with saccharine innuendo". "Secret (Take You Home)" contains various metaphors that compare flirting and sex to car racing. Ballads like "Obsession" deal with issues of loss and the ending of a relationship.

Release [ ]

Body Language  was released on 14 November 2003 in Australia, while in the United Kingdom it was released three days later. In the United States,  Body Language  was released on 10 February 2004. The cover art of the album, as well as other promotion shoots, show Kylie striking a pose in a black and white striped crop top, which reveals her midriff, and low-cut pants. Her appearance is similar to that of French actress and singer Brigitte Bardot, who was regarded as the "first foreign-language star ever to attain a level of international success comparable to America's most popular homegrown talents" and one of the best known sex symbols of the 1950s and 1960s, frequently cited as the "archetypal sex kitten" and "sex goddess". Kylie described the promotion shoots as "the perfect mix of coquette, kitten and rock 'n' roll", and revealed that "We shot it on location in the South of France, so it was [easy to] channel the spirit of [Brigitte] Bardot. She's a great iconic reference, particularly that period where she was working with Serge Gainsbourg". The title of the album was taken from a line from the song "Slow" in which Kylie sings "Read my body language".

Singles [ ]

" Slow " was released on 3 November 2003 as the lead single from  Body Language . The song garnered critical acclaim, with Kylie's breathy and seductive vocal delivery receiving particular praise. Commercially, the single was a success. It debuted at number one on both the Australian Singles Chart and UK Singles Chart. In the latter region, it became Kylie's seventh number one single and made her a record-holding female artist for spending the longest duration as a UK chart topper. Elsewhere, it reached number one in Denmark, Spain, and on the US  Billboard  Hot Dance Club Songs chart. In Australia, "Slow" was certified platinum by the ARIA for shipments of 70,000 units. The accompanying music video for "Slow" was directed by Baillie Walsh and was shot in Barcelona, Spain. It features Kylie and a number of beach models performing synchronised choreography to the song while sunbathing next to the Piscina Municipal de Montjuïc swimming pool.

" Red Blooded Woman " was released as the second single on 10 March 2004. Critics praised its radio-friendly sound and lyrical content. The song performed well on charts, peaking at numbers four and five in Australia and the United Kingdom, respectively. An accompanying music video for the song was directed in Los Angeles by Jake Nava, and features Kylie performing dance routines in various locations.

" Chocolate " was released as the third and final single on 28 June 2004. It received mixed reviews from critics, some of whom praised its sensual nature but criticised Kylie' vocals for being over-processed. The song was a moderate commercial success, peaking at number six in the United Kingdom but narrowly missing the top 10 in Australia. It became Kylie' 27th single to peak inside the top 10 in the UK. Dawn Shadforth, who had previously directed the video for "Can't Get You Out of My Head", collaborated on the music video for "Chocolate" which sees Kylie and a number of backup dancers performing a ballet-like dance routines as a tribute to Metro-Goldwyn-Mayermusicals.

Two promotional singles were released from Body Language ; " Promises " was released in Ireland only in November 2003, on the same day as the album; " Secret (Take You Home) " was released as in Taiwan only in January 2004.

Promotion [ ]

Critical reception [ ].

Body Language  received generally positive to mixed reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics,  Body Language  received an average score of 62 based on 17 reviews which indicates that the album received "generally favourable reviews". Chris True from AllMusic complimented Kylie for expanding her "horizons" and felt that the album was consistent and worked as a "piece", calling it "stylish without being smarmy, retro without being ironic". He favoured the overall production of the album and praised Kylie for displaying a "sense of class", which he felt was lacking in the work of female artists like Britney Spears, Christina Aguilera, and Madonna; he concluded by labelling  Body Language  a "near perfect pop record" and "what may well be the best album of her [Kylie's] career". Keith Caulfield from  Billboard  was also positive in his review and complimented Kylie for selecting a talented creative team, saying "The sexy, solid set is glued together by danceable beats and Kylie's knack for picking great songs and producers." The  The Irish Times  review of the song called the album a "worthy successor to 2001's smash hit  Fever , a supremely danceable collection of electro-pop songs that's clearly in thrall to the 80s" and complimented Kylie's versatile vocal delivery. Ethan Brown from  New York  was greatly impressed by opening track "Slow", and commented that most of the songs on the album "mimic its sound, none of the other songs on Body Language comes close to the achievement of "Slow"". Sal Cinquemani from Slant Magazine felt  Body Language  was a better album than  Fever , calling it "less immediate and more experimental, a midway point between the alternative/electronica of 1997's  Impossible Princess and Kylie's more mainstream post-millennium work", and praised it for being cohesive. He also complimented Kylie's "willingness to try something new – even if it's within the confines of dance-pop – is what's made her an international sensation 15 years running". Rob Sheffield from  Rolling Stone  favoured the sensual nature of the album, calling it "fantastic" and that "At thirty-five, she's ten times hotter than she was ten years ago – on  Body Language , Kylie Minogue definitely sounds like she has a few more tricks stored on her hard drive than Britney [Spears] or Christina [Aguilera]".

Chris Willman from  Entertainment Weekly  called it Kylie's "Madonna-meets-Mirwais move" and felt that her exploration of new genres is "ludicrously enjoyable", although he opined that the album was "synthetic" and "all  Body  [sic] no soul". Helen Pidd from  The Guardian  favoured the blend of 1980s musical styles on the album, but felt that it lacked danceable songs, saying "Problem is, as with the majority of other tracks – including, most disappointingly, the Dennis-penned "After Dark" – you would be hard pushed to dance to it, which could well be  Body Language' s downfall". John Robinson from  NME  gave  Body Language  an overall positive review and called it "an extremely tastefully done, soulful modern r'n'b record", but felt that it "fails to live up to its predecessor [ Fever ]". Likewise, Adrien Begnard from PopMatters felt that  Body Language  lacked the "undeniably catchy" material which was present in  Fever , but praised the overall production and the first half of the album; he concluded that "Even though  Body Language  is a bit of a misstep for Kylie, there's a sense of class to it" and that "Britney [Spears] could learn a thing or two". The  Spin  review of the album commented that Minogue "wears the '80s well" and praised the dance-oriented songs on the tracklist, although they criticised the ballads and pointed out that "[at times] Kylie's vocals are so over-processed that they barely seem to exist at all". On the other hand, Andy Battaglia from  The A.V. Club  opined that the ballads "work" and concluded that " Body Language  shows Minogue as a surprisingly impressive presence in spurts, but she sounds better with her pleasure engine revving at full purr".

Track listing [ ]

• 1 The Loco-Motion (song)
• 2 Kylie Minogue
• 3 List of concert tours

Kylie Minogue announces Body Language 20th anniversary vinyl reissue

Kylie Minogue’s ninth album, ‘Body Language’, will be released on vinyl for the first time in celebration of its 20th anniversary. 

The LP – featuring the chart-topping hit Slow , along with classics like Red Blooded Woman and Chocolate – is set to arrive on wax early next year, following its milestone this month. 

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According to a bio for the release, ‘Body Language’ – along with the earlier ‘Light Years’ (2000) and ‘Fever’ (2001) – ‘transformed Kylie into the singular-named, pop-icon that she is known and loved by today” and “was a further development in her sound that saw her dominate pop music in the early 2000s”.

‘Body Language’ is out on vinyl February 23 and available to pre-order here . 

Connor Gotto

Founder and editor of RETROPOP. Self-proclaimed pop aficionado. Like to make my life look super cool and exciting online, but usually found at home, with my dogs, sipping wine and listening to Nicki French!

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‘Body Language’: A Track-By-Track Guide To Kylie Minogue’s 2003 Album

Pleasingly experimental, Kylie Minogue’s ‘Body Language’ album mixed hip-hop and R&B with 80s touchstones and her trademark frothy pop.

Following up the monster success of 2001’s Fever album was always going to be a challenge, but Kylie Minogue ’s ninth studio album, Body Language , went for broke and pushed her sound in an edgier, electro-pop direction. Selling more than 1.5 million worldwide, the record generated a strong critical response, and in the years since its release, on 10 November 2003, it has come to be regarded as one of the most interesting and ultimately rewarding entries among the best Kylie Minogue albums – as proven by this track-by-track guide through each of Body Language ’s songs.

Listen to ‘Body Language’ here .

‘body language’ track-by-track: a guide to every song on the album.

The single that launched the Body Language album campaign, Slow splashed in at No.1 in the UK and Australia off the back of its iconic video, shot at a swimming pool used for diving in the 1992 Summer Olympics, held in Barcelona, Spain, and directed by Baillie Walsh. There’s a clear musical line between this track, claimed by Kylie in 2012 to be her favourite of her many songs, and the Tension album of 2023, with smouldering vocals framed by an icy production from co-songwriters Dan Carey and Emiliana Torrini. “It’s a simple song and yet it stays with you,” Kylie said at the time, and Slow’s provocative, sensual hypnotism certainly draws you in. For a song with such confident styling, it has proved remarkably adaptable – the reworking for 2012’s The Abbey Road Sessions recasts it as a jazz-tinged torch number.

Still Standing

The choppy, electroclash charm of Body Language ’s second track moves the pace up a gear, but there’s a consistent sexual character to Still Standing’s lyrics (“You know you want it” gives you the idea). There are echoes of Prince and his masterful orchestrated funk in its presentation, which is perhaps no surprise given Kylie’s oft-referenced admiration for the late superstar (in the early 90s he worked on a track with her, titled Baby Doll, which remains unreleased).

Secret (Take You Home)

The 80s signalling refuses to let up, with Kylie attempting a light old-school rap. But while Secret (Take You Home) is decidedly early-2000s electro-pop in its production, there’s a crafty lift from Lisa Lisa And Cult Jam’s 1985 freestyle breakthrough, I Wonder If I Take You Home. On an album in which R&B and 80s references sit alongside Kylie’s more familiar pop froth, this song marks an emerging maturity in the singer’s ability to master new styles – something which had been in evidence in her post-PWL 90s but which gains firmer footing here.

A more straightforward pop song, albeit with a decent dose of funk coursing through its groove, Promises is perhaps the Body Language single that should have been. Producer and remixer Kurtis Mantronik, who had been part of 80s hip-hop/electro-funk pioneers Mantronix, adds a maverick edge to proceedings with some decidedly techno twists and sonic surprises. The staggering number of producers and writers on Body Language is the most on any of Kylie’s albums, and while there’s an obvious consistency in the record’s experimental influences, there’s also a clear intent to move further from the all-out pop of records such as Light Years and Fever .

Sweet Music

The bass gets its moment in the spotlight on this midtempo club-friendly banger that was co-written by long-term collaborator Karen Poole, who had been in 90s hitmakers Alisha’s Attic with her sister, Shelly. It’s not the most immediate of cuts on Body Language , but there’s a tight vocal from Kylie, with an obvious pop-leaning melody nestling up against a tougher, more ambitious production intent.

Red Blooded Woman

The synth-pop of this hit single is sprinkled with sharp hip-hop nods to create one of the best Kylie Minogue songs of the era. Red Blooded Woman has a breathy urgency and a hook-heavy production from Johnny Douglas, who co-wrote the track with Karen Poole, and it peaked in the Top 5 both in the UK and Kylie’s homeland. Check out the cheeky reference to Dead Or Alive’s You Spin Me Round (Like A Record), which had been the first UK chart-topper for Kylie’s former mentors, Stock Aitken Waterman.

Though Kylie ditched a planned Ludacris rap on this cut, Chocolate was another step further from her pop roots, towards the most urban-oriented of her singles to date (the New Jack Swing of 1991’s The Word Is Out, perhaps, aside). Regardless, this smooth ballad is clearly Kylie, and, in a wider musical landscape of R&B-light pop then dominating the charts, it continued her run of UK Top 10 hits.

Kurtis Mantronik returns with a jittery electro production, and Obsession rides a hypnotic groove that would have been a strong candidate for a suite of remixes. You can really hear the Mantronix influences in this recording, and there’s a nifty vocal underlay – “Obsession is a dangerous state of mind” – that, once heard, is difficult to shift. This song gets better and better on repeated listens.

I Feel For You

A funk jam with tropical theatricality – who says Kylie can’t tackle a concept record? The intermittent 90s rave piano adds further impression that I Feel For You is the musical equivalent of going mad in the dressing-up box. A crazy moment, for sure, and one that remains naggingly catchy.

The languid charm of Someday features Scritti Politti frontman Green Gartside on the middle eight. It’s less Cupid & Psyche 85 , more a throwback to the group’s earlier Songs To Remember , and a charming shuffler that would have proved effective in many eras across the “Princess Of Pop”’s lengthy career . Produced by Ash Thomas, under the name Baby Ash, this is a grand statement of Kylie’s experimental confidence and a definite highlight of Body Language .

Loving Days

The familiar pop influences of Richard Stannard, still working with Kylie to this day, offer a familiar break from the more out-there experimentation in evidence elsewhere on the album. Loving Days drips with mannered theatricality (and, perhaps, echoes of Madonna ’s Frozen) and is possibly Body Language ’s most obvious moment, but its rich melody and strong vocal also elevate it as an immediate high point in the album’s final stretch.

Cathy Dennis, co-writer of mega-hit Can’t Get You Out Of My Head , attempts to recreate the magic formula (with Chris Braide) on Body Language ’s closing track. After Dark is a reserved shuffler that captures much of the magic of the album, which is largely bound up in its groove-focused intent as opposed to a brasher, more commercial call-to-arms.

Check out the 10 Kylie Minogue facts you need to know .

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Classic Album Review: Kylie Minogue | Body Language

The Australian dance-pop queen takes it down a notch to put the moves on you.

T his came out in 2004 – or at least that’s when I got it. Here’s what I said about it back then (with some minor editing):

“c ome on and dance with me,” purrs kylie minogue — only she’s not talking about the disco, if you catch my drift..

Not that anyone would be surprised if you didn’t — after all, next to the skankorama tawdriness of her dance-diva contemporaries, Kylie’s slightly more stylish and mature brand of sensuality might seem a tad too subtle to be effective. Trust me, though; it works just fine on her superbly understated new CD Body Language .

Veering away from lighter, energetic disco-pop of her last few discs, Minogue lowers the lights a shade, takes it down a notch, slips into something comfortable and takes her time putting the moves on you on these 14 tracks. As always, she keeps her approach simple: Most of these retro-dance party cuts are sparsely arranged around lightly percolating mid-tempo beatboxes, bouncy basslines and gently burbling synths. None of it overpowers Kylie’s limited but highly effective vocals, which move from husky propositions and erotic moaning to pop-diva trilling and — this time out — the occasional rap.

Minogue also seems to stretch her musical boundaries a bit here, flirting with everything from Prince -inspired electroclash ( Still Standing ) and funk ( I Feel For You ) to lurching teen-pop ( Red Blooded Woman ) and hip-hop ( Cruise Control , one of the Canadian bonus tracks). Through it all, though, Kylie never loses her cool or says anything she’ll regret. Her Body Language does the talking for her.

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Kylie Minogue’s Vegas Residency Never Stumbles, Even as She Recovers From an Ankle Injury: Concert Review

By Todd Gilchrist

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After a five-month stint in art deco concert venue/nightclub Voltaire at Las Vegas casino The Venetian, Kylie Minogue has just two more performances left before the conclusion of her concert series “More Than a Residency.” Given the grueling schedule she’s maintained since the beginning of the promotional cycle for “Tension,” her sixteenth album, it feels understandable, even appropriate, for Minogue to take her foot off the gas — especially while she’s nursing three torn ligaments and an ankle injury she must ice immediately after every show.

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Across a set that ran just shy of an hour, they exploited the venue’s expressive, stylized lighting both to acclimate the crowd to the genre-spanning blend of dance music that would be included in Minogue’s performance, and to emphasize every one of their gobsmackingly strong muscles. Songs by Jane Birkin (“Baby Alone In Bablyone”), Cerrone (“Supernature”), Frankie Goes to Hollywood (“Relax”) and Gessafelstein (“Opr”) provided a soundtrack as performers contorted, swung and posed, all while stripping down to various levels of not-quite nudity that were at once thrilling and titillating. During some numbers dressed like Catherine Deneuve in “The Hunger” or a Patrick Nagel painting come to life and others wearing only loincloths or see-through bodysuits, the ensemble expertly warmed up the crowd ahead of Minogue’s performance.

As kaleidoscopic light surrounded her, Minogue beamed while the crowd cheered her arrival. It marked the first of many moments of seemingly sincere gratitude, underscoring her reputation as one of the most approachable pop divas. Then again, that intimacy may also have been the byproduct of Voltaire’s comparatively modest size. But the closeness (both physical and atmospheric) made the diminutive singer seem like an artist performing for friends and the towering international singer who’s sold 80 million records worldwide.

Minogue shuffled through “Vegas High,” reiterating that it was written expressly for her residency as she completed the final tracks for “Tension,” then performed singalong versions of “In Your Eyes” (from “Fever”) and “Get Outta My Way” (from “Aphrodite”) ahead of her first costume change. Returning to the stage dressed in skintight PVC, she performed a pair of her sexiest tracks, “Tension” and the “Body Language” lead single, “Slow.” On the latter, she paired its seductive lyrics with a live performance of the instrumental to Donna Summer’s “Love to Love You Baby” — a welcome callback to one of the many disco singers whose work has inspired and influenced her own. She then paid tribute to her Las Vegas forebears with a cover of Elvis’ “Can’t Help Falling In Love,” whose chorus the audience joined her in singing.

After another costume change, Minogue bounced through “Spinning Around” before reaching all of the way back to 1987 for a rendition of “The Loco-Motion,” the song that first put her on the map. Sandwiching the track between songs from 2000 and 2010, the singer not only reminded ticketholders how long she’s been around, but how long she’s been delivering earworm dancefloor fillers. While members of Belle du Nuit performed more acrobatic movements around her, Minogue easily kept pace with the choreography, a feat made more impressive by the fact that she is recovering from her aforementioned ankle injury — which was virtually undetectable, even while maneuvering around during the show on platform heels.

Though “All the Lovers,” featuring a cascading rainbow light show, ended the third act of the set on an appropriately triumphant note, Minogue returned for three more songs, the biggest of her career: the Grammy-winning “Tension” track “ Padam Padam ” and her instantly-recognizable “Can’t Get You Out of My Head,” plus the Grammy-nominated “Love at First Sight,” both from 2001’s “Fever.” Wearing all white like in the iconography of her “Fever” era, Minogue performed her final few tracks with extra gusto; even on her eighteenth performance of this particular set, she exuded a clear joy on stage, an appreciation to those in attendance not just for joining her in the room but for helping make those songs so popular for so long.

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Kylie Minogue Transformed Into a Sleeping Beauty for the Met Gala 2024

By Daniel Rodgers

A princess goes to sleep for 100 years and is then restored to life by the kiss of a charming prince. It’s an ancient story whose title has now been attributed to the Metropolitan Museum of Art’s Costume Institute’s spring 2024 exhibition– “Sleeping Beauties: Reawakening Fashion” –which centers on the emotional textures of 250 historic garments too fragile ever to be worn again. But it’s also a tale that could perhaps loosely be applied to the past 12 months of Kylie Minogue’s career which–despite never having experienced even a brief lull since the ’80s –reached new heights thanks to the colossal success of “ Padam Padam ,” the mega hit dance record that delivered the 55-year-old pop star’s first Grammy award in two decades. Cue a starring role in Jean Paul Gaultier and Jimmy Choo’s advertising campaign, a sold-out run at the Venetian Resort in Las Vegas, and nods from both Dua Lipa and Beyoncé . Now, Minogue is once again one of the most anticipated names on the Met Gala 2024 ’s guest list.

Kylie Minogue in Glenn Martens’s Diesel at the 2024 Met Gala.

The princely figure reviving Minogue from a decade-long slumber–her last appearance at the Met Gala was in 2014 when she attended alongside Marchesa’s Keren Craig and Georgina Chapman–is Diesel’s creative director Glenn Martens : a handsome rogue of a designer, who sealed Kylie’s comeback with a Swarovski-encrusted kiss. “She’s one of my favourite artists of all time,” says Martens in the days leading up to the fundraiser. “The first time I went to see a Kylie concert was when I was a design student in Antwerp in the early 2000s and ‘Slow’ is still one of my favourite pop songs. To me, Minogue means joy, happiness and fun, which are values both Diesel and I share.” Minogue’s Met Gala dress is an evolution of one of the designer’s autumn/winter 2024 creations , constructed from a sometimes transparent devoré denim knit–a technique that Diesel itself invented–and embellished with thousands of micro crystals. “It’s meant to look as though she’s been sleeping in this dress for hundreds of years,” Martens adds. “Leaving parts of the fabric dissolved around her body’s contours.”

That Minogue should partner with the kind of designer who is perhaps best known for dressing people like Megan Thee Stallion and Julia Fox is an emphatic statement on this pop musician’s newfound relationship with young fans on social media. “Time has passed, but the spirit shines through,” as Minogue herself puts it. “The dress feels at once glamorous and mysterious, and it harbors a hidden tale, crafted using incredible techniques to look like an organic yet sparkling interpretation of my ‘slept-in’ being. Glenn is a wildly talented, era-defining designer and it’s been such a joy to collaborate with him for this very special Met Gala moment.”

On an evening dedicated to fleeting and untouchable beauties–the exhibition breathes new life into some of the most delicate designs, among them Dior’s Junon gown and Alexander McQueen’s razor clam gown–Minogue perhaps symbolizes the opposite. She is the ultimate example of what happens when someone best navigates the passage of time, a glitter ball shapeshifting into new forms whenever a spotlight descends. “I think the most important thing is to understand who you are dressing and celebrate their personalities,” Martens concludes. “Kylie is a pop icon, and Diesel is all about legends and icons, the original heyday of the brand being during the MTV ’90s. And so, she really is the perfect match for us. We are so honored to have Kylie at the brand’s very first time at the Met Gala.”

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