WAHEY! It’s Christmas! Where most people are cheerful, and that is very infectious. Anyway, it is no surprise that a Christmas album sits atop of the chart. Usually, Michael Bublé does. At the moment, it is Kylie with an expanded edition of her 2015 record “Christmas (Fully Wrapped)”. The new edition is Kylie stamping her style over new songs and covers. We have effortless vocals that are both warm and playful.
Let’s look at some highlights from the album. I have excluded ’Santa Baby’ and ‘Let it Snow’. I will explain my reasoning in due course:
It’s the Most Wonderful Time of the Year:
As you will discover, most of the songs are like supernovas. Mainly the covers, because they were written in a time when radio plays were extremely short. Kylie does this justice, delivering an upbeat, polished, celebratory tone without going too cheesy.
XMAS:
I guarantee that if you have been near a radio. You would have heard this new track, as it is being played to death, and with good reason, too. Rhythmic, quintessentially Kylie, that blends her modern pop sound into a Christmas theme with ease. This one will be on a future Christmas compilation; it is that good.
Hot in December:
Another new addition, and another standout alongside the previous one. Cheeky, playful, and of course, Kylie stamped. Not your usual Christmas track. I thought the title hinted at the weather in her native Australia during this period, but the lyrics talk about being free and flirting.
At Christmas:
Time for a reflective and tender refrain. Her vocals really sell the story.
Santa Claus Is Coming to Town ft. Frank Sinatra:
I was uneasy seeing that the late Frank Sinatra was included as it can often disrespect the memory, but this felt tasteful. Of course, Kylie’s vocals were exemplary.
This Time of Year:
Another new track, warm and gentle. Another refrain from the upbeat tempo.
100 Degrees ft Dannii Minogue:
The chemistry between the sisters is a sound to behold. You might think there might be a sense of bitter rivalry, but this disco-inspired track is delightful. The sisters give the album a colourful array of fireworks.
Office Party:
Another favourite of mine. A silly, fun, and light track. The title says it all. If you know the chaos at the office Christmas party, you will know.
White December:
Melancholic and unmistakably wintry.
Christmas Isn’t Christmas ’Til You Get Here:
An intimate and heartfelt track. Again. Kylie’s vocals shine.
Have Yourself a Merry Little Christmas:
Restrained yet elegant vocals, and that cozy feeling of being by a logfire with mulled wine.
Now, earlier I mentioned why I do not like ’Santa Baby’ and ‘Let it Snow’, and now I will explain my reasoning as to why the record works without them:
More mature
There is no novelty fatigue
Flows better
Showcases more of Kylie’s artistry
Why? Because there is a better balance between playfulness, tasteful covers, and modern originals that serve a purpose rather than overloading the album.
Encore:
What a sublime listen this was. I much prefer this to the original released ten years ago. The record doesn’t have its polished sound when it gets playful, remains stylish, and has that Christmas feel without going over the top. One of the best Christmas albums I have ever had the pleasure of listening to.
Song recommendations: ‘XMAS’, ‘Office Party’, ‘100 Degrees’
I cannot, for my life, figure out how people are saying this; it sounds totally different from its predecessor. What I am hearing is more of the same. However, “Tension II” is more enhanced with lyrical content. As you know, Kylie has a knack for writing catchy choruses, executed perfectly in ‘Taboo’. ‘Lights Camera Action’ has a touch of Madonna about it. ‘Diamonds’ features the co-leader of the Scissor Sisters, Jake Shears, and it has that kind of pop music you would associate with Jake.
Returning to an earlier comment, if you disagree with me that the record is not a continuation of the previous album, I will say that there are more songs on this that will hit the charts and become crowd favourites. It also sums up Kylie’s ability to make great pop. You will hear that over the first 11 tracks and then encounter two tracks that appear for god knows what reason. They do not fit with the flow of it. One track with Orville Peck is country/disco/pop but at a plodding tempo, and the other track features fellow Australian Sia, which, to be honest, isn’t that good.
‘Hello’ is also another track that doesn’t have much going on. ‘Good as Gone’ is a good song, but unfortunately, it has quite surprisingly a weak chorus. Despite what some critics have said, the production overall doesn’t alter that much from its predecessor. I am not knocking it, far from it. I enjoyed “Tension” for its disco vibe, and therefore, I enjoyed its successor. ‘Kiss Bang Bang’ sounds exactly like ‘Padam Padam’, but I seemed to enjoy ‘Kiss Bang Bang’ much more.
Song recommendations: ‘Kiss Bang Bang’, ‘Lights Camera Action’, ‘Diamonds’
What is this? Like my third review of a Kylie album? I’ve lost track. My most recent review of hers was ‘Disco’, which came out amid one of the lockdowns, and the music within made you yearn to return to the dance floor, be it at clubs, wedding receptions, bars or parties. I also enjoyed listening to it and found it the perfect tonic to escape the drab reality we were all subjected to. However, it could have gone better with the younger generation, which could mean that with streaming services widely available, they can steer clear of radio and television music channels and avoid going to shops to listen. Therefore, they can choose who they want to listen to and become trapped in that mindset. I grew up on everything mentioned in the previous sentence, so my taste has become eclectic. Listening to the radio and watching Later…with Jools Holland gave me an open mind to music. I don’t believe that on these streaming services, the algorithm would recommend Kylie Minogue to a youngster listening to BTS, so therefore, you can see why Kylie hasn’t been as popular with the younger generation (yet.)
I first heard ‘Padam Padam’ on the Graham Norton Show (I think.), which was four months ago when the track was released, and it is still as popular now as it was then. The younger generation will certainly know this one, as the staff of Hobbycraft did a dance for it on TikTok. What is refreshing about the track is that it is uplifting, fun and humourous.
The record is reminiscent of the Europop/Eurodance you would hear on Euro Trash. It may be cheesy, but it is fucking fun and uplifting. We all need to lighten up once in a while. The title track flirts with Kylie going for the Daft Punk approach of using robotic vocals; the saxophone swoons on ‘You Still Get Me High’ and ‘Vegas High’, which have that Europop sound. ‘Hands’ reminded me of Madonna’s ‘Vogue’—especially the rapping verses.
There is no way in hell that “Tension” is nothing more than to promote her upcoming Las Vegas residence shows; I am not having it. It is far too professional just to be regarded as a throwaway. It is Kylie at her best, touching on all sorts of emotions, and it deserves its number-one placing. I do not believe “Tension” got there by sales alone; I reckon that the younger generation heard ‘Padam Padam’, streamed her, and fell in love with the music. The TikTok video would have also drawn their attention. I also love the cover art. Nice and vibrant
Song recommendations: ‘Hands’. ‘Vegas High’, ‘Padam Padam’
have no idea where I first heard Robbie Williams. Take That appeared out of nowhere in the 90s and became extremely popular without a steady rise. I don’t mind some of Robbie’s work since he decided to go solo in 1997, which started with the indie-inspired ‘Old Before I Die’. I love that song, but Robbie isn’t too keen on it when you read his 2016 autobiography “Reveal”. He appears to hate it with a passion. I used to love hearing it on the radio, on television or on the jukebox at the local Riley’s snooker club. It epitomised the whole indie revival movement during that period. I am surprised by his submission because after being discarded by the Gallagher brothers, he said in his book, it didn’t deter him from liking Oasis, and he enjoys a lot of indie music. I don’t fucking care if some of you are smirking at me reading his book, it was an intriguing read, and you get to know the honest Robbie and not the one slaughtered by the media. So, my initial plan was to listen to the new tracks on “XXV”, but he had other ideas. Yes, it is his greatest hits, but not in their original guise. The songs have been reimagined with Jules Buckley conducting an orchestra, and there is even a Beethoven version of ‘Angels’. That’s the introduction over; now to the review. I have elected to analyse each classic and new song track-by-track.
Let’s begin:
Let Me Entertain You:
No one can forget this beast of an anthem with its rock attitude. When this was recorded, the La’s and Lightning Seeds drummer Chris Sharrock was drumming for Robbie. Of course, Chris would go on to join Robbie’s friends Oasis, Beady Eye, and his least favourite Gallagher brother Noel Gallagher’s High Flying Birds. The song carries on in the same vein, but the horns and choir bring that celestial finish to it. Already I am impressed.
Come Undone:
A friend had this on a Now That’s What I Call Music compilation in 2003, and I was reading the footnotes. Tupac Shakur inspires this song. I was shocked to hear this because I don’t hear any references to Pac in the song. On a side note, Robbie and Pac met in 1995 at the Versace birthday party. They both shared a joint, and they got on almost immediately. Pac didn’t know about Robbie’s portrayal by the media and didn’t seem to care either. They shot the shit about life and, for a brief moment, became friends. Has the song improved much since the original? Only slightly. Not much to write about.
Love my Life:
In the book, Robbie said he wrote this for Theodora(his daughter.) to tell her never to forget to love your life despite what others might say about you. Again, the orchestra lift this song to another level; to be honest; it is fit for the West End when they do a musical on Robbie.
Millenium:
There was no point in tweaking this track. It doesn’t enhance it, as the original already has a stringed section. I believe it was pilfered from a James Bond theme song. He was better off not bothering to rework this one.
the Road to Mandalay:
Again, a pointless rework. The original is better.
Tripping:
For the third time in succession, the track didn’t need necessary work. I am sure this one catches your attention by starting off with a reggae vibe before returning to the familiarity. You feel cheated when the reggae falls away after the introduction. I’d have preferred a reggae vibe on the rework, in all honesty. I cannot recall a single track where Robbie has done reggae.
Bodies:
I’ve never been a fan of it, and the rework didn’t do much for me.
Candy:
Jesus. This song made me cringe when it came out, and still makes me cringe now. Robbie is better than bubblegum pop.
Supreme:
Again, I believe another song pilfered from a James Bond film. I didn’t feel a rework was necessary. I mean, what could Jules have possibly done to improve it? The original has an orchestra. There are, however, female backing vocals. Still didn’t do much to improve, though.
Strong:
Again, Robbie puts on his indie head in the original, and to be honest, there is not much difference between the XXV version and the original. It’s a photo finish which is better.
Eternity:
Just like ‘Strong’, there isn’t much difference in both versions.
No Regrets:
My favourite track off “I’ve Been Expecting You”, and it has to be the original that will remain my favourite. He tries to make this more upbeat when the original is melancholic, which fits with the concept.
She’s the One:
I love this cover of World Party’s track, even though the original is much better. It was a nice nod to World Party, but Karl Wallinger has said on many occasions he now hates performing the song and that Robbie ruined it for him. In the book, Robbie mentions how through a third party, Karl said, “When you see him, tell him he’s a cunt”. If Karl hated the original cover, he isn’t going to be too fond of the XXV version, either. However, I believe the majority will agree with him this time.
Feel:
I was not too fond of it then, didn’t like it when Peter Schmeichel played on it live, and I still don’t like it now.
Rock DJ:
When this came out in the summer of 2000, I liked it. Then, it was played to death, so I stopped listening to it, and as I got older, I could not stand it. Even listening to the rework was too much.
Kids:
I loved this when it came out in the autumn of 2000, with its rock attitude and the collaboration with Kylie Minogue. Kylie features in the rework. Again, a photo finish of which one is best.
Angels:
The original pisses all over this. Do look out for a surprise later on, though.
Lost:
Now, we have come to a brand new track. It was made for this album. Yes, I know it was actually made for this record, but what I mean is it’s a perfect fit. The orchestra musicians compliment each other.
Nobody Someday:
An acoustic guitar accompanies Robbie’s vocals, accompanied by a soft choir. A vast improvement on the original.
Lazy Days:
The original itself was lazy instrumentally and vocally. The rework brings it to life—the orchestra playing a pivotal role.
Hot Fudge:
I never liked it and still don’t.
Sexed up:
Again, I wouldn’t say I liked the original, and my concentration wavered on this one.
More than This:
Another brand new song. Once again, it is a perfect fit, just like ‘Lost’.
Disco Symphony:
Another new track that does exactly what it says. I can see this one being played at parties and wedding receptions imminently. Very uptempo and very disco.
Better Man:
You’re better off listening to the original.
Home Thoughts from Abroad:
The Magic FM moment on the album. Although to be fair, the majority of the record will fit nicely on their playlists.
the World and Her Mother:
The final new track has the Robbie signature written all over it.
Into the Silence:
Again, another photo finish.
Angels (Beethoven AI):
This song is merged with Beethoven’s ‘Unfinished 10th Symphony’, and fuck me; it fits in perfectly. I never thought I would see the day when ‘Angels’ collaborates with ‘Unfinished 10th Symphony’. I was blown away when I heard it, and it fucking destroys the original. That was a very clever move by Robbie. This version is beyond space; it’s that good.
Song recommendations: ‘Angels(Beethoven AI)’, ‘Nobody Someday’, ‘Disco Symphony’
7/10
Why such an average rating, you ask? Well, because I prefer the originals.
How ironic that in such a fucked up year, Kylie releases an album choc-full of disco and funk songs? We can’t go out to clubs, attend parties or wedding receptions to dance with one another to these uplifting tracks. That’s quite sad, and I’m sure Kylie would prefer we were all doing that rather than sitting on our arses at home before heading out to get food or go to work. I should have started with an introduction to Kylie Minogue, as this is my first review of her material. This is her fifteenth album over a career spanned almost four decades.
Talking of her career spanning almost four decades, this record sounds like music inspired by the 70s and the era she began her career, the 80s. “Say Something” is the leading single, a chance for us all to enjoy each other’s company and start living life again. Most of the album was written during the lockdown, and Kylie used a makeshift studio from home to record and edit her vocals. Indeed, she wrote “Monday Blues” about the struggle of doing that (It can be pretty tricky if you are not used to editing your vocals or even instrumentation, for that matter.)
These songs will be heard at wedding receptions when they are allowed to be permitted again. Especially “Supernova” and “Where Did the DJ Go?” are inspired by Nile Rodgers and Chic. Unfortunately, the albumhas no memorable content such as “Spinning Around” and “Love at First Sight”, but it sits pretty nicely into the generic Kylie song department. No risks are taken, and Kylie sticks to what she knows is guaranteed to sell rather than getting experimental and surprising us all.
Another thing refreshing was this record doesn’t particularly have any filler. It is all good, full-on disco/funk.Even the more downtempo tracks like “Last Chance” keep your attention and mood at the same level because it is straight outof pop. Kylie co-wrote this album, and though the songs are mainly uplifting sonically, the lyrics are more melancholicas they talk about the rollercoaster of being in and out of love.
As the record closes, Kylie concentrates on adding a character called Mary in “Celebrate You, ” which is based on all of us when we feel sad and depressed. However, the instrumental is uplifting again, so your mood doesn’t shift despite the melancholy. Another thing that Kylie has mastered is her music. Most of her songs are based around the heartache of a relationship ending, but Kylie takes that element of sadness away with her uplifting instrumentals.
Song recommendations: “Where Did the DJ Go?”, “Supernova”, “Celebrate You”
Honest Opinions 