Kylie Minogue (album)

Kylie Minogue is the fifth studio album to be recorded by Australian singer Kylie Minogue. It was released in the United Kingdom on 19 September 1994 by Deconstruction, and in Australia by Mushroom Records. After leaving Pete Waterman Entertainment, Minogue wanted to establish credibility for herself and signed with independent label Deconstruction in early 1993. Minogue became involved with a diverse group of collaborators in order to experiment with different sounds. After unsuccessful sessions with Saint Etienne and The Rapino Brothers, Minogue went on to collaborate with new producers including Brothers in Rhythm, M People, Farley & Heller, and Jimmy Harry.

This article is about Kylie Minogue's 1994 album. For the 1988 album, see Kylie (album).

Kylie Minogue
Studio album by
Kylie Minogue
Released19 September 1994 (1994-09-19)
Recorded1993–1994
Studio
GenreDance-pop
Length57:12
Label
Producer
Kylie Minogue chronology
Kylie's Non-Stop History 50+1
(1993)		 Kylie Minogue
(1994)		 Impossible Princess
(1997)
Singles from Kylie Minogue
  1. "Confide in Me"
    Released: 29 August 1994
  2. "Put Yourself in My Place"
    Released: 14 November 1994
  3. "Where Is the Feeling?"
    Released: 10 July 1995

Musically, Kylie Minogue is a dance-pop album that contains elements of electronic dance, R&B and adult contemporary music. Minogue showcases her voice range in the midtempo tracks, with lyrics about love, seduction, womanhood, and enjoyment of life. Music critics praised the production and Minogue's vocals, deeming it the start of a new phase of her career. It experienced moderate success worldwide, peaked in the top 5 in the United Kingdom and Australia, and was certified gold in both countries. The album also attaining top 40 positions in Sweden, Switzerland, and Scotland. Minogue received three nominations at the ARIA Music Awards of 1995 as a result of her work on Kylie Minogue, winning Best Video for "Put Yourself In My Place".

To promote the album, a limited coffee-table book shot by Ellen von Unwerth was released to highfliers. Three singles were released—"Confide in Me", "Put Yourself in My Place", and "Where Is the Feeling?"—all of which peaked inside the top 20 in the UK, while the former two also reached top 20 in Australia. The promotional process was delayed several times due to highly popular film projects that Minogue was involved with during the time. The album was re-issued in Europe in 2018, when it returned to the UK Albums Chart and Scottish Albums Chart.

Background
"There was this great misconception, she was far from a puppet in any meeting I had with her. She's a very driven individual, very creative, very aware of imagery [...] But it struck me that for her to modernize and move on she had to take some risks musically and show her more creative side".

Deconstruction founder Pete Hadfield commenting on the acquisition of Minogue.[1]

In 1991, Minogue released her fourth studio album under Pete Waterman Limited (PWL), titled Let's Get to It.[2] The album was made after Matt Aitken left Stock Aitken Waterman (SAW) earlier that year,[3] which led Pete Waterman and Mike Stock to write and produce the album alone.[4][5] Minogue, who co-wrote six tracks with the producers on the album, was disappointed with the output. She felt that SAW had reverted to "formulaic tunes" and by the time Let's Get to It came, "the magic [had] gone and the record sank quickly".[1] By the end of 1992, PWL did not renewed the contract with Minogue, who felt the singer "was [not] moving in a direction that was going to be successful", according to PWL co-owner David Howells.[6][3] Minogue's final release under PWL was Greatest Hits (1992), which debuted at number one in the United Kingdom and reached number three in Australia.[7][8][9]

After the split, Minogue wanted to establish credibility for herself and refused to fall back into the same market as PWL.[10] "I wanted to break free of the chains binding me. I was tired of being the SAW popstrel," Minogue said.[11] She turned down a number of major record labels, among them were EMI and A&M, and subsequently signed to indie label Deconstruction in early 1993.[10][12] Deconstruction was known for being an innovative figure in the dance scene—concurrently, it was "unheard of" for a mainstream pop artist to forgo a major label.[13][14] "I was aware that it was being perceived as a bit of a radical move, which I loved", Minogue recalled.[15] The label promised creative freedom, both musically and artistically, which persuaded Minogue.[11][10] "I liked [their] attitude, I quite liked their arrogance, and I liked the vision they had. [...] There wouldn't be much point in leaving PWL and going somewhere exactly the same, so it was a big change", Minogue said.[10]

Recording and development

1993: Early sessions
English band Saint Etienne was involved in the early recording sessions for Kylie Minogue, but their work was scrapped.

Deconstruction founder Pete Hadfield saw Minogue as a "potential radical dance diva",[13] and intended to push Kylie towards a more conventional approach to dance music.[14][1] As work began on her new music, an early meeting with Deconstruction took place concerning which direction Minogue intended to pursue. She then decided to experiment with different sounds instead of record more pop songs.[16] Minogue informed with Select about the change: "My leanings are less pure pop, and hopefully you can here in my music that it's going slowly that way."[12] Minogue took an active role in planning the album and sought out a diverse group of collaborators to work with, which included both mainstream and underground talents.[1][13] Minogue was flattered and felt "fortunate" to have such support for her work.[16] Hadfield referred to the process as "the re-engineering of Kylie Minogue".[1] Quentin Harrison of PopMatters conveys that such attempt suggests that Minogue was to be "[rebranded] as a pop savant".[13]

Early recording sessions for Kylie Minogue took place in 1993, with help from Saint Etienne and The Rapino Brothers.[16][17] For the first time, Minogue had a chance to redo her vocals and hear the song before recorded it.[18] In an interview with NME, Keith Cameron wrote that Minogue "talks in the amazed tones of a blind child who has just rediscovered the gift of sight," in regards to the making of her album.[18] Most of the tracks, however, were deemed to be taking Minogue in the wrong direction and were scrapped from the final output.[17] Bob Stanley of Saint Etienne later remarked that her camp "had no idea what they wanted, apart from being different from the SAW stuff," though he expressed his amazement at her "powerful" voice that was masked by SAW's double tracking.[18] The first recording Minogue did after she signed with Deconstruction was a new version of Saint Etienne's third single "Nothing Can Stop Us" (1991).[19] An original song, "When Are You Coming Home?", was also recorded but Minogue decided to drop it because it was "too pure pop".[19] Minogue had written eight songs with the Rapino Brothers, and all but one–"Automatic Love"–were scrapped. "Automatic Love" ended up on the tracklist and was the only song that listed Minogue as a songwriter.[16]

A number of songwriters and producers approached Minogue during the production process but were ultimately fruitless.[16] Minogue was invited into the studio with Prince for a social visit, after she first met him backstage at Earl's Court, London.[19][20] She handed Prince some lyrics she had written, entitled "Baby Doll", to which he managed to finish and sing Minogue's lyrics into a cassette tape but never properly recorded it.[19][20] Minogue did suggest it to the label but they weren't into the track.[20] Minogue and Lenny Kravitz had talked about working together but he was busy making Mama Said (1991), as well as composing Vanessa Paradis's 1992 self-titled album.[19][21] Minogue and Bobby Gillespie of Primal Scream had talked about working together in 1992,[22] before two other members of the band discussed doing "Don't Fight It, Feel It" (from Screamadelica, 1991) with Minogue in a different way, but their record company wanted the band to finish their 1994 album first.[22][19] British groups The Beloved and The Auteurs wrote at least one song for the album but did not work out.[19] Nick Cave had talked about a song written especially for Minogue, which is to be sung from a point of view of a murdered woman.[19] The song, "Where the Wild Roses Grow", did not include in the album and was released as a single in 1995.[23]

1993–1994: Later development

Deconstruction co-founders Keith Blackhurst and Hadfield were friends with Brothers in Rhythm, an electronic duo consisting of Steve Anderson and Dave Seaman.[12] Brothers in Rhythm was previously involved with Minogue through a remix of "Finer Feelings", a single taken from Let's Get to It.[16] When they heard Minogue had signed with Deconstruction, the duo called Blackhurst and asked to collaborate, despite no prior experience writing for others.[12][14] Lunch was arranged and Minogue met the pair at DMC Studios in Slough, where they had a meeting which set up the original sessions.[24][16] Anderson said that Minogue was "immediately so inspiring" and opened to try out different sounds, while the label "had tremendous faith" in them and didn't want to limit creativity.[12] Minogue's stylist William Baker found Minogue to be the "perfect vehicle" for the duo's hybrids: "Her vocal range and willingness to experiment musically meant that Steve and Dave could push the envelope further."[1]

Electronic music duo Brothers in Rhythm wrote and produced multiple tracks on Kylie Minogue.

A week after the phone call, Minogue traveled down from her residence of Chelsea and tried songs out at the studio for months.[25][12] The producers initially had their work cut out because of the "nasal" vocals from Minogue, who later gained confidence vocally throughout the course of recording the album.[12] Their first engagement resulted in "Confide in Me", a song that came together within an hour.[25][12] Minogue recorded the original demo in one take, which ended up being used on the final recording.[25] The producers were pleased with the result, calling it "without a shadow of doubt the best [Minogue track] we were involved with."[25] A cover version of Prefab Sprout's "If You Don't Love Me" was recorded in one take only,[26] as the producers wanted to experiment with Minogue's musical boundaries.[14] Brothers in Rhythm was enlisted as the album's chief producer, who produced four tracks in the final output:[12] "Where Is the Feeling?" (originally recorded by Within A Dream in 1993),[27] "Automatic Love" (rework from material with Rapino Brothers),[16] "Confide in Me" and "Dangerous Game" (both songs written and produced by the duo).[28]

Jimmy Harry wrote and produced "Put Yourself in My Place" and "If I Was Your Lover"—the former track was written especially for Minogue.[28][29] These songs, which were recorded in New York City, would be the only entries to be recorded outside the United Kingdom.[28][21] Minogue said, "I was feeling a bit like a ping-pong ball for a while, with the American and English both wanting different things."[19] A song entitled "Intuition" was recorded by Minogue during these sessions and was shelved until 2019, when Harry gave the demo to American singer Liz for her album Planet Y2K.[30] Neil Tennant and Chris Lowe, better known as Pet Shop Boys, were approached by Minogue's camp after the pair finished work on Very (1993).[31] They initially declined, before Lowe came up with a set of chords that Tennet found similar to Minogue's previous work with SAW, and suggested they turned into a song for her.[31][19] The demo to "Falling" was sent to Deconstruction, where it was reworked by Pete Heller and Terry Farley. Tennet found the result "very different" to the original demo, saying "It doesn’t really have the same tune in it, for instance, and they haven’t put the chorus in, but I suppose that's very modern."[31][19] Label mate M People produced "Time Will Pass You By" for the album but could not commit more due to busy schedule.[28][19] Gerry DeVeaux, songwriter and Kravitz's cousin, produced and co-wrote "Surrender" with composer Charlie Mole.[28][19] Three of the songs on the final album are cover versions from rarely known tracks, which were poached by deConstruction: "Where Has The Love Gone?", "Time Will Pass You By", and "Where Is the Feeling?".[17]

Music and lyrics

Kylie Minogue is primarily a dance-pop album, that integrates elements of R&B and adult contemporary music.[32][13] Chris True of AllMusic wrote that the record is prominently dance-pop, replacing Minogue's previous teen pop material. He also noted there is "atmosphere and style in the songs that wasn't there on Let's Get to It".[32] Ian Gormely of Exclaim! found the album carries "a variety of sounds and styles, including house, techno and new jack swing."[33] An editor of Be With Records remarked the "diverse" range of influences, "from house and ambient to Balearic and R&B", as well as references to new jack swing and piano house.[34] In the biography Kylie: Naked (2012), Nigel Goodall and Jenny Stanley-Clarke described the album as a collection of "upbeat dance tracks, lightweight funky numbers and smoochy ballads".[17] Nick Levine from Digital Spy described Kylie Minogue as an "elegant... sophisticated, stylish dance record", with "trendy" dance producers, and tracks that "regularly test the six-minute mark".[35] Sal Cinquemani of Slant Magazine highlighted the album's embrace of club music and emulate classic 12" house records by songs that "run about two minutes too long".[36]

Kylie Minogue opens with "Confide in Me", a song incorporates elements of indie music, dance-pop, and Middle Eastern instrumentation such as strings and percussion.[26][37] The opening part of the track features an orchestral arrangement from musician Will Malone and a piano section by Anderson, which was performed using a Bösendorfer.[26] English musician Edward Barton is credited as a co-writer under the name Owain Barton, along with Anderson and Seaman, due to the interpolations from his song "It's a Fine Day" (1983).[38] Lyrically, the content talks about Minogue's earnest of seduction and manipulating people to confide into her.[1] "Surrender" is a seductive slow jam track, with Balearic pop, jazz, and R&B-influences,[13][35][34] which Cinquemani compared as a "less sultry rendition" to songs recorded by Tia Carrere for Dreams (1993).[36] Levine felt that the "slinky" midtempo pop-funk "If I Was Your Lover" showcases Minogue's "genuine strength in depth".[35][39] Anderson was influenced by the classic musical elements by Frankie Knuckles and David Morales when produced Minogue's cover of "Where Is the Feeling?".[14] The producers added live piano, guitar, and percussion to the album version of the song.[14] The house and acid jazz-based track was compared with the work of British acts such as The Brand New Heavies, Jamiroquai and Incognito.[14][13]

"Put Yourself in My Place", a melancholy quiet storm power ballad with trip-hop beats,[14][35][40][34] is a plaintive appeal to a former lover who had fallen for someone else.[41] The downtempo track resembles the late 1980s American R&B tracks.[34] Cinquemani felt that Minogue has a chance to showcase her voice on the string-laden "Dangerous Game" and "Automatic Love".[36] The latter track is a ballad that contains technology metaphors, in which Minogue sings "I didn't feel you enter / In my main menu / But every time I touch the key / The screen is showing you."[35] Harrison felt "Automatic Love" is one of the ballads that "had Minogue eager in her burgeoning womanhood",[13] while noting tempestuous uptempo tracks like "Where Has the Love Gone?" and "Falling" veered from the traditional length, which led the arrangements to breathe–each track runs over six minutes.[13] Minogue whispered the lyrics on "Falling", a house slow-burner with the bass-heavy rhythm and high backing vocals.[42] "Where Has the Love Gone?" contains "fussy" lines like "I'm a woman and I've got my vanity".[13] The closer track, "Time Will Pass You By", is a sophisticated, grinning piano-house song that encapsulated Minogue's trademark joie de vivre message: not taking life for granted and enjoying it to its fullest.[13][35]

Artwork and release
British photographer Rankin shot the album cover during a photoshoot for Dazed & Confused.

The album's artwork was photographed by British photographer Rankin, with additional help by British stylist Katie Grand.[43][44] Deconstruction paid for Rankin and Grand to fly out to Los Angeles and shot with Minogue for Dazed & Confused, an British fashion magazine that Rankin founded in 1991.[43][44] The shoot for an inlay section called "Kylie Bible" lasted for 7 hours outside a film studio, in which Grand tried to make Minogue's image more androgynous.[43][44] Deconstruction approved the photographs and asked to keep the image back from being released in the magazine so they could later use it for the album cover.[43] The photoshoot was the first time Rankin met Minogue—he commented that she "was delightful" during the shoot and the album "was quite different for her".[43]

The black-and-white cover shows a barefoot Minogue, licking her lips and crouching low, with her hair brushed back behind her ears.[44] She wears a dark trouser suit and a pair of glasses.[45][46] In the biography Kylie (2014), Sean Smith wrote that Minogue posed "like a leopard sizing up her prey" while wearing "Clark Kent glasses", and that the cover is "startlingly different" from Minogue's previous front covers.[44] Writing for Idolator, Robbie Daw referred to Minogue as a "sexy '90s nerd".[45] Goodall and Clarke found the cover reflects Minogue's "chameleon quality" by showing a "demure and restrained" new image of Minogue, which they compared to the character of Miss Moneypenny.[17] Christian Guiltenane of Classic Pop commented that Minogue's image had changed considerably in just five years, and the shoot is a mix of "sultry poses, avant garde styling and sex".[46]

Kylie Minogue is the second studio album named after the singer, following her debut Kylie in 1988.[47] Minogue said that the album was named after her because she wanted to introduce her new sound "that other people might copy".[47] Smith felt that the simple title might seems to be "singularly lacking in imagination", but it shows Minogue eager to "[start] over and [reintroduce] herself to the public: this is my name and this is me".[48] Australian programme Rage wrote that the title "complete the 'rebirth' feel [that Minogue] had established by leaving PWL".[49] Kylie Minogue was released on 19 September 1994 in the UK and European countries by Deconstruction,[28] and in Australia by Mushroom Records.[50][51] In Japan, it was released on 21 October 1994 with two bonus tracks: "Love Is Waiting" (written by Tracy Ackerman, Mike Percy and Tim Lever of Dead or Alive), and "Nothing Can Stop Us".[52][53] Deconstruction issued the album in Canada in 1995, featuring an alternate artwork and a franglais version of "Confide in Me", known as "Fie-toi à moi".[54]

It was re-released in Australia in 1998 to celebrate the 25th annniversary of Mushroom Records.[55] BMG and Mushroom released a special edition of Kylie Minogue with remastered tracks in 2003, which contains remixes, B-sides, and a previously unreleased track titled "Dangerous Overture".[56][57][58] The album was later reissued on vinyl for the first time, as a double vinyl, by Be With Records in 2016 in the UK,[34][59][60] and in 2018 by BMG as white vinyl exclusively through Sainsbury's supermarket chain in European countries.[61]

Promotion
The album was promoted by a limited coffee-table book, which was shot by Ellen von Unwerth.

Minogue failed to find an audience in the United States following the release of Enjoy Yourself (1989), and Geffen Records dropped her as an artist.[62] Subsequently, Minogue's last two studio albums under PWL could not find a distributor in the US.[63] American independent label Imago Records intended to release Kylie Minogue there, with a commercial release of "Confide in Me" in November 1994.[64][65] However, within days of releasing the single, the label was facing serious financial problems and quickly parted ways with BMG in 1995.[63][66] Imago withdrew all current releases, including Minogue's album, which was scheduled in Spring 1995.[63][66]

Minogue promoted the album by a limited-edition coffee-table book that was not commercially available but was sent out to highfliers in October 1994.[63] The photographs were shot by Ellen von Unwerth in New York City during Minogue's recording process there.[67][63] "It wasn't my choice to get down to a négligé but that's the way Ellen shoots," Minogue said.[67] Katerina Jebb and Baker, Minogue's frequent collaborators, met each other for the first time and came up with a Debbie Harry-theme photoshoot for the book.[68][44] Baker provided many old punk-style costumes for Minogue, among them were a pair of ripped tights and a 1970s sleeveless Marilyn Monroe T-shirt that once belongs to a staff of Andy Warhol's New York Factory.[44] The collection of images of Minogue in seductive poses and see-through costumes was compared to Madonna's highly controversial Sex book (1992).[63] Minogue defended herself by claiming that she had plans to do a coffee table book before Sex came out.[63]

Singles
Minogue performing lead single "Confide in Me" during her 2019 summer tour

"Confide in Me", the lead single from Kylie Minogue, was released in August 1994.[69][70] Minogue's cover of "Nothing Can Stop Us" and "If You Don't Love Me", as well as a 10-minute remix by Brothers in Rhythm, were included on the B-side of the single.[69] In the US, the single was remixed by Phillip Damien, titled the "Confession Mix", featuring his signature "twisted loops and forceful beats".[65] Farley and Heller (billed as Fire Island) featured on a remix of "Where Has The Love Gone?" for their label Junior Boy's Own.[71] Black-and-white promotional photographs for "Confide in Me" saw Minogue sporting an afro.[46] In the music video, directed by Paul Boyd, Minogue plays six different versions of herself, filming a commercial for a phone line and inviting viewers to call and reveal their secrets.[72] It was Minogue's biggest international hit of the decade,[69] debuted at number two in the UK,[8] while reaching number 10 in France and number 39 on the US Billboard Dance Club Songs chart.[73][74] In her native Australia, it spent 4 weeks at number one on the ARIA Album Charts.[9]

After the release of "Confide in Me", Minogue was busy promoting Street Fighter (1994), her first Hollywood-funded project since The Delinquents (1989).[75][76] The second single, "Put Yourself in My Place", was released in November.[29] The cover art was photographed by Rankin, featuring Minogue posing with headphones, in order to represent a "serious" approach to her music.[1] Directed by Kier McFarlane, the music video recreated the opening sequence of the classic Jane Fonda film, Barbarella (1968), while Minogue performing a slow striptease inside a spacecraft.[77][78] "Put Yourself in My Place" reached number eleven in both Australia and the UK.[29][8][9]

"If I Was Your Lover" was intended as the follow-up single after "Put Yourself in My Place" in the US, with more urban-appeal remixes, but the release was scrapped.[13] "Where Is The Feeling?" was released as the third and final single in July 1995, seven months after the release of the second single.[13] "Where Is The Feeling?" was initially planned as the follow-up single to "Confide In Me", before being scheduled for release in April 1995 but was delayed again when Minogue was filming for Bio-Dome (1996) in the US.[27][79] Brothers In Rhythm handled the remix for the single release, replacing the "bright and breezy vocal" of the album version with a murmured verse and bass heavy backing track.[79][80] Mixes from Felix da Housecat and Morales were also included.[80][81] Minogue appeared with red hair, which was dyed especially for her role in Bio-Dome, during the promotional process for "Where Is The Feeling?".[79] The music video, also directed by McFarlane, saw Minogue being pursued through the water by an ominous figure.[79] The single only reached number 16 in the UK, and number 31 in Australia.[8][9] Minogue once considered "Time Will Pass You By" as the concluding single; instead, she worked with Cave for the single "Where the Wild Roses Grow" and released it in late 1995.[13]

Critical reception
Professional ratings
Review scores
SourceRating
AllMusic[32]
Digital Spy[35]
Encyclopedia of Popular Music[82]

Kylie Minogue received generally positive reviews from music critics.[33][17] True interpreted the album as a "mature and stylish" statement for the second phase of her career, where Minogue "wanted to sound grown-up, and she pulls it off with ease."[32][83] Levine wrote in his retrospective review that the record is "cohesive, classy", and "remarkably unmarked by the passing years", while praising Minogue's vocals.[35] Echoing the same sentiment, Oliver Hurley of Classic Pop deemed the album as "a confident rejoinder" to her previous albums, and concluded by calling it "a sophisticated collection that has aged well".[39] Writing for Playboy, Marc Andrews found the recording "mature-sounding", but commented that the producers tried too hard to push Minogue's "limited" vocal range "into soul diva or Mariah Carey territory".[84] In 2018, Cinquemani wrote that the album is a "creative rebirth", whose midtempo material was the "biggest surprise", and Minogue delivers a "sensual and understated performance". He ranked it as Minogue's ninth-best studio album.[36]

Harrison commented that the album was "crisp and cunning... growing up never sounded so sexy."[13] He compared Kylie Minogue with Madonna's Bedtime Stories: both released in the fall of 1994; the performers were at "a creative impasse"; they had to change their familiar dance-pop style to a more mature approach in order to emphasize their music as a whole; and the both followed the "transformative pop model" of Donna Summer's eight studio album The Wanderer (1980).[13] Harrison concluded that the records have "rippled through Madonna and Minogue's legacies, career-wise and artistically."[13] The album was Minogue's only studio album, apart from Let's Get to It, to receive a two-star rating from British writer Colin Larkin in the Encyclopedia of Popular Music (2011), who classified it as "disappointing", "week or dull and not recommended".[82] Minogue received three nominations at the ARIA Music Awards of 1995 as a result of her work on Kylie Minogue: Best Female Artist, Highest Selling Single for "Confide In Me", and Best Video for "Put Yourself In My Place", winning the latter category.[85][86]

Commercial performance

Kylie Minogue experienced moderate success worldwide.[13] The album debuted and peaked at number four in the UK after initially being released, becoming her fifth top-ten entry.[87][8] It spent a total of 20 weeks on the chart,[8] and was certified gold by British Phonographic Industry within a month of release for selling over 100,000 copies.[88] In 2018, the reissue of Kylie Minogue peaked at number 67 on the UK Albums Chart, and number 9 on the separate UK Independent Albums Chart on 28 September.[89][90] The album had sold 124,806 copies in the UK by October 2020.[91] The 2018 reissue also appeared on the Scottish Albums Chart, reaching number 30—the album previously peaked at number 15 during its original release in 1994 there.[92][93]

In her native Australia, Kylie Minogue debuted at number three and spent 11 weeks on the chart.[51] It was the eighty-fourth best-selling album of the year, and was later certified gold by Australian Recording Industry Association for selling over 35,000 copies.[94] The album also peaked at number 39 in Sweden,[95] number 33 in Switzerland,[96] and number 78 in German during its 1998 release.[97] In Japan, the album peaked at number 54 on the Oricon Albums Chart and had sold 23,440 copies by 2006.[98][52]

Track listing
Kylie Minogue – Standard edition[28]
No.TitleWriter(s)Producer(s)Length
1."Confide in Me"
Brothers in Rhythm5:51
2."Surrender"
  • DeVeaux
  • John Waddle
  • Tim Bran
4:25
3."If I Was Your Lover"Jimmy HarryHarry4:45
4."Where Is the Feeling?"
  • Wilf Smarties
  • Jayn Hanna
Brothers in Rhythm6:59
5."Put Yourself in My Place"HarryHarry4:54
6."Dangerous Game"
  • Anderson
  • Seaman
Brothers in Rhythm5:30
7."Automatic Love"
Brothers in Rhythm4:45
8."Where Has the Love Gone?"
  • Alex Palmer
  • Julie Stapleton
7:46
9."Falling"
  • Heller
  • Farley
6:43
10."Time Will Pass You By"
  • Dino Fekaris
  • Nick Zesses
  • John Rhys
M People5:26
Total length:57:12
Kylie Minogue – Japanese edition[53]
No.TitleWriter(s)Producer(s)Length
11."Love Is Waiting"
  • Mike Percy
  • Tim Lever
  • Tracy Ackerman
Brothers in Rhythm4:52
12."Nothing Can Stop Us"
Saint Etienne4:06
Kylie Minogue – Canadian edition[54]
No.TitleWriter(s)Producer(s)Length
11."Confide in Me" (French version)
  • Anderson
  • Seaman
  • Barton
Brothers in Rhythm5:51
Kylie Minogue – Special edition bonus disc[57]
No.TitleWriter(s)Producer(s)Length
1."Dangerous Overture"
  • Anderson
  • Seaman
Brothers in Rhythm1:20
2."Confide in Me" (Justin Warfield mix)
  • Anderson
  • Seaman
  • Barton
Brothers in Rhythm5:27
3."Put Yourself in My Place" (Dan's Old School mix)HarryHarry4:31
4."Where Is the Feeling?" (Acoustic version)
  • Smarties
  • Hanna
Brothers in Rhythm4:51
5."Nothing Can Stop Us"
  • Stanley
  • Wiggs
Saint Etienne4:06
6."Love Is Waiting"
  • Percy
  • Lever
  • Ackerman
Brothers in Rhythm4:46
7."Time Will Pass You By" (Paul Masterson mix)
  • Fekaris
  • Zesses
  • Rhys
M People7:34
8."Where Is the Feeling?" (West End TKO mix)
  • Smarties
  • Hanna
Brothers in Rhythm8:11
9."Falling" (Alternative mix)
  • Tennant
  • Lowe
  • Heller
  • Farley
8:40
10."Confide in Me" (Big Brothers mix)
  • Anderson
  • Seaman
  • Barton
Brothers in Rhythm10:27
11."Surrender" (Talking Soul mix)
  • DeVeaux
  • Mole
  • DeVeaux
  • Waddle
  • Bran
4:26
12."Put Yourself in My Place" (Acoustic version)HarryHarry4:46
13."If You Don't Love Me" (Acoustic version)Paddy McAloonBrothers in Rhythm2:10
14."Confide in Me" (French version)
  • Anderson
  • Seaman
  • Barton
Brothers in Rhythm5:51
Notes

Personnel

Adapted from the album's liner notes.[28]

Charts

Certifications and sales
Certifications and sales for Kylie Minogue
Region CertificationCertified units/sales
Australia (ARIA)[94] Gold 35,000^
Japan — 23,440[98]
United Kingdom (BPI)[88] Gold 124,806[91]

^ Shipments figures based on certification alone.

Release history
Release dates and formats for Kylie Minogue
Region Date Format(s) Label(s) Ref(s).
United Kingdom 19 September 1994
Deconstruction [28]
Europe
Australia Mushroom [50]
Japan 21 October 1994 Deconstruction [53]
Canada 1995 [54]
Australia 1998 CD Mushroom [55]
2003 [56]
Japan BMG [58]
United Kingdom [57]
2 February 2016 LP Be With Records [34][59][60]
Europe 2018 BMG [61]

See also

References

Footnotes
  1. Minogue & Baker 2002
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Sources
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