{"id":222049,"date":"2023-09-07T02:27:26","date_gmt":"2023-09-07T02:27:26","guid":{"rendered":"https:\/\/allworldreport.com\/?p=222049"},"modified":"2023-09-07T02:27:26","modified_gmt":"2023-09-07T02:27:26","slug":"every-kylie-minogue-song-ranked","status":"publish","type":"post","link":"https:\/\/allworldreport.com\/lifestyle\/every-kylie-minogue-song-ranked\/","title":{"rendered":"Every Kylie Minogue song ranked"},"content":{"rendered":"

By <\/span>Robert Moran<\/span> and Annabelle Ross<\/span><\/span><\/span><\/p>\n

<\/p>\n

We just can\u2019t get her out of our heads.<\/span><\/p>\n

Save articles for later<\/h3>\n

Add articles to your saved list and come back to them any time.<\/p>\n

When she\u2019s been prolifically gifting us hits across five separate decades from the \u201980s to the present, it\u2019s easy to take Kylie Minogue for granted. So let\u2019s make sure we never do.<\/p>\n

This year, the now 55-year-old Padam Padam<\/em>-ed back into our hearts, reigniting the sort of global acclaim she hadn\u2019t experienced since her halcyon Fever<\/em> days at the turn of the millennium, and excitement is high for Tension<\/em>, out on September 22, her first new album since 2020\u2019s very COVID-stenched Disco<\/em>. It\u2019s prompted us to deep-dive into her discography and revisit her best (and not so best) songs in this definitive ranking. Think of it as a living tribute to our greatest ever pop star.<\/p>\n

We\u2019ve mostly stuck to album tracks, bar the odd essential B-side (where my Skirt<\/em> heads at?) and her most iconic features. Unfortunately, we don\u2019t have time for remixes and Christmas songs because we also have lives away from Kylie\u2019s discography. But let the debates begin.<\/p>\n

170: Sexercize<\/em> (Kiss Me Once<\/em>; 2014)<\/strong>
Co-written by Sia, who should be excommunicated from Australia until she apologises for making Kylie sing \u201clet me see you sexercize\u201d. RM<\/em><\/p>\n

169: Beautiful <\/em>(with Enrique Iglesias) (Kiss Me Once<\/em>; 2014)<\/strong>
An autotuned ballad with Enrique: a collection of words that just scream \u201cskip it.\u201d RM<\/em><\/p>\n

168: Tell Tale Signs<\/em> (Enjoy Yourself<\/em>; 1989)<\/strong>
167: My Secret Heart<\/em> (Enjoy Yourself<\/em>; 1989)<\/strong>
166: Heaven & Earth<\/em> (Enjoy Yourself<\/em>; 1989)<\/strong>
A string of relics from what\u2019s surely Kylie\u2019s worst era, when she made a pivot towards Broadway belter and Disney crooner. If there\u2019s some bravery in the attempt to try something different, it\u2019s also a relief that it didn\u2019t last.<\/p>\n

165: If You Were Here With Me Now<\/em> (Let\u2019s Get To It<\/em>; 1991)<\/strong>
A soppy duet with R&B vocalist Keith Washington. I think Kylie was making a play for the Aladdin<\/em> soundtrack. RM<\/em><\/p>\n

164: I\u2019m Over Dreaming (Over You)<\/em> (Enjoy Yourself<\/em>; 1989)<\/strong>
Is it just me or do those synth horns sound completely out of tune? How do synth horns even get out of tune? RM<\/em><\/p>\n

163: Love At First Sight<\/em> (Kylie; 1988)<\/strong>
Not to be confused with Kylie\u2019s second stab at a Love At First Sight<\/em>. This one needed a little less \u201980s cocaine. Just take it down a notch, everybody. RM<\/em><\/p>\n

162: I\u2019m So High<\/em> (Light Years<\/em>; 2000)<\/strong>
Minogue\u2019s still under the influence of love and it\u2019s impairing her musical judgment. A forgettable wisp of fluff; filler in the form of fairy floss. AR<\/em><\/p>\n

161: Looking For An Angel<\/em> (Aphrodite<\/em>; 2010)<\/strong>
I don\u2019t know, \u201cI\u2019m waiting for my seraphim\u201d is just a very awkward lyric. RM<\/em><\/p>\n

160: Bittersweet Goodbye<\/em> (Light Years<\/em>; 2000)<\/strong>
As well as being an outlier on the album, this spare piano-driven ballad is a real stinker. A lullaby to yet another leaving lover, it\u2019s less bittersweet and more bloody awful. AR<\/em><\/p>\n

159: One Last Kiss<\/em> (Golden<\/em>; 2018)<\/strong>
I just re-listened to this two minutes ago and I\u2019ve already forgotten it. RM<\/em><\/p>\n

158: It\u2019s No Secret<\/em> (Kylie<\/em>; 1988)<\/strong>
The secret? That Our Kylie\u2019s being cheated on by some jerk of a guy. Maybe that explains why she\u2019s yelling rather than singing (over the highest-pitched funk guitar you\u2019ve ever heard). RM<\/em><\/p>\n

157: I\u2019ll Still Be Loving You<\/em> (Kylie<\/em>; 1988)<\/strong>
Kylie\u2019s resigned coo is sweet, but that plodding guitar lick needs a hit of \u201980s cocaine. RM<\/em><\/p>\n

156: Live & Learn<\/em> (Let\u2019s Get To It<\/em>; 1991) <\/strong>
Generic dance-pop from the early \u201990s. If you didn\u2019t listen to it then, why start now? RM<\/em><\/p>\n

155: Word Is Out<\/em> (Let\u2019s Get To It<\/em>; 1991)<\/strong>
I appreciate Kylie trying her hand at New Jack Swing, but maybe Stock and Waterman (Aitken was out by this point) weren\u2019t the ones to do it. Surely Teddy Riley was available? RM<\/em><\/p>\n

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Kylie Minogue\u2019s 16th album Tension is out September 22.<\/span><\/p>\n

154: The World Still Turns<\/em> (Rhythm of Love<\/em>; 1990)<\/strong>
You\u2019d expect Kylie to find the ambiguity in a song about living on after a broken heart, but alas. That sax solo doesn\u2019t help. RM<\/em><\/p>\n

153: Give Me Just a Little More Time<\/em> (Let\u2019s Get To It<\/em>; 1991)<\/strong>
Kylie\u2019s overenthusiastic cover of Chairmen of the Board\u2019s Motown classic (\u201cbrrrrrrrp!\u201c). No one needs this. RM<\/em><\/p>\n

152: Fine<\/em> (Kiss Me Once<\/em>; 2014)<\/strong>
151: Into the Blue<\/em> (Kiss Me Once<\/em>; 2014)<\/strong>
150: Million Miles<\/em> (Kiss Me Once<\/em>; 2014)<\/strong>
149: Kiss Me Once<\/em> (Kiss Me Once<\/em>; 2014)<\/strong>
A string of generic EDM from Kylie\u2019s least essential album (and, coincidentally, her only album on Jay-Z\u2019s Roc Nation). RM<\/em><\/p>\n

148: Tears on My Pillow<\/em> (Enjoy Yourself<\/em>; 1989)<\/strong>
Some people love Kylie\u2019s take on Little Anthony\u2019s 1958 doo-wop classic. I\u2019m not one of those people (you can keep The Delinquents<\/em>, too). RM<\/em><\/p>\n

147: Dangerous Game<\/em> (Kylie Minogue<\/em>; 1994)<\/strong>
Ever dreamed of Kylie doing cabaret? It probably sounded like this. RM<\/em><\/p>\n

146: No World Without You<\/em> (Let\u2019s Get To It<\/em>; 1991)<\/strong>
Just Kylie\u2019s vocals over a guitar doing jazzy chords. If you pretend she\u2019s singing to Michael Hutchence while he\u2019s out on tour, it\u2019s something. RM<\/em><\/p>\n

145: A Lifetime to Repair<\/em> (Golden<\/em>; 2018)<\/strong>
Kylie brought some fingerpicked banjo, a fiddle and some hoedown energy to her country experiment. We can only be grateful it didn\u2019t stick. RM<\/em><\/p>\n

144: Under the Influence of Love<\/em> (Light Years<\/em>; 2000)<\/strong>
Kylie\u2019s lovedrunk again but a few chords borrowed from John Paul Young\u2019s Love is in the Air<\/em> can\u2019t save this track from mediocrity \u2013 and more banal lyrics. AR<\/em><\/p>\n

143: Let\u2019s Get To It<\/em> (Let\u2019s Get To It<\/em>; 1991)<\/strong>
Something about this reminds me of Color Me Badd\u2019s I Wanna Sex You Up<\/em>, which sure, you go get it, Kylie. RM<\/em><\/p>\n

142: Stop Me From Falling<\/em> (Golden<\/em>; 2018)<\/strong>
141: Love<\/em> (Golden<\/em>; 2018)<\/strong>
140: Music\u2019s Too Sad Without You <\/em>(with Jack Savoretti) (Golden<\/em>; 2018)<\/strong>
The kind of music you might find in an Irish romantic-comedy. RM<\/em><\/p>\n

139: Butterfly<\/em> (Light Years<\/em>; 2000)<\/strong>
Butterfly<\/em> heads back to the dancefloor with uninspiring bubblegum synths, a fast tempo and some pretty wet lyrics. \u201cYou\u2019re more than you\u2019ll ever know\/ and your love teaches me to grow.\u201d AR<\/em><\/p>\n

138: Radio On<\/em> (Golden<\/em>; 2018)<\/strong>
All you Kylie fans who asked for a fingerpicked alt-country ballad, I hope you\u2019re happy with yourself. RM<\/em><\/p>\n

137: Stars<\/em> (X<\/em>; 2007)<\/strong>
Kylie sounds oddly like her sister Danni singing Who Do You Love Now<\/em> on this wishy-washy track, but it\u2019s not a great vocal performance by the older Minogue. AR<\/em><\/p>\n

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Kylie performing in 1991, the year Let\u2019s Get To It was released.<\/span><\/p>\n

136: Cosmic<\/em> (X<\/em>; 2007)<\/strong>
A milquetoast pop track co-written with Eg White, who\u2019s made magic with Adele and Florence + the Machine but failed to recreate that alchemy here. Cosmic in name only. AR<\/em><\/p>\n

135: Nothing to Lose<\/em> (Enjoy Yourself<\/em>; 1989)<\/strong>
The muted verses, where Kylie convinces herself to chase some fickle dude, are a slog. RM<\/em><\/p>\n

134: Golden<\/em> (Golden<\/em>; 2018)
<\/strong>Someone watched a spaghetti western once, I think. RM<\/em><\/p>\n

133: In My Arms<\/em> (X<\/em>; 2007)<\/strong>
Everything Calvin Harris touches tends to turn to gold but he doesn\u2019t hit the mark on this track, which shifts awkwardly between dancey beats and operatic pop. AR<\/em><\/p>\n

132: Right Here, Right Now<\/em> (Let\u2019s Get To It<\/em>; 1991)<\/strong>
Big Euro dance energy, from a Kylie who\u2019s really feeling herself (\u201cMy desire\u2019s getting stronger, I can\u2019t hold back any longer,\u201d she sings. Look, it\u2019s not Dickinson). RM<\/em><\/p>\n

131: Always Find the Time<\/em> (Rhythm of Love<\/em>; 1990)<\/strong>
Featuring a sample from Mary Jane Girls\u2019 Candy Man<\/em>, written and produced by Rick James, this is a slick slab of \u201980s funk. By no means a Kylie essential, but good enough for your \u201980s dance parties. RM<\/em><\/p>\n

130: Enjoy Yourself<\/em> (Enjoy Yourself<\/em>; 1989)<\/strong>
A breezy dance track with a simple message: \u201cEnjoy it\u201d (\u201cit\u201d being your life, you depressive). RM<\/em><\/p>\n

129: Illusion<\/em> (Aphrodite<\/em>; 2010)<\/strong>
If your Spotify algorithm still regularly plays La Roux, this song\u2019s for you.<\/p>\n

128: Sensitized<\/em> (X<\/em>; 2007)<\/strong>
You\u2019d be forgiven for thinking you were listening to a different record when Sensitized<\/em> opens with its twangy guitars and Britpoppy stylings. It feels confused, and leaves us feeling that way too. AR<\/em><\/p>\n

127: Better Than Today<\/em> (Aphrodite<\/em>; 2010)<\/strong>
Corny in an endearing way, featuring a hoedown-y bounce that Kylie attacks with Dolly-esque enthusiasm. RM<\/em><\/p>\n

126: Magic<\/em> (Disco<\/em>; 2020)<\/strong>
125: Last Chance<\/em> (Disco<\/em>; 2020)<\/strong>
124: Miss a Thing<\/em> (Disco<\/em>; 2020)<\/strong>
123: Where Does the DJ Go?<\/em> (Disco<\/em>; 2020)<\/strong>
122: Celebrate You<\/em> (Disco<\/em>; 2020)<\/strong>
For someone who so successfully brought disco into the new millennium, Kylie\u2019s recent return to the genre was mostly depressing. Of course, all the blame goes to COVID. RM<\/em><\/p>\n

121: Too Much of a Good Thing<\/em> (Let\u2019s Get To It<\/em>; 1991)<\/strong>
Kylie gets on the \u201990s boom-bap bandwagon! A sample-heavy R&B track where Kylie gets lost in the mix. But I appreciate her taste. RM<\/em><\/p>\n

120: Your Love<\/em> (Fever<\/em>; 2001)<\/strong>
Middling mid-tempo track that\u2019s less dancefloor-focused, but still very much about L-O-V-E! She\u2019s upside-down, she\u2019s going around and around, it\u2019s taking her over\u2026 you get the gist. AR<\/em><\/p>\n

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Robbie Williams and Kylie Minogue sing at the MTV Europe Music Awards in 2000.<\/span>Credit: <\/span>AP<\/cite><\/p>\n

119: I Miss You<\/em> (Kylie<\/em>; 1988)<\/strong>
\u201cI don\u2019t care what people say, I\u2019m happy to be this way,\u201d Kylie sings over a broken bongo beat. An early coded nod to her beloved queer following? No, it\u2019s not. RM<\/em><\/p>\n

118: Say Something<\/em> (Disco<\/em>; 2020)<\/strong>
One day we\u2019ll all curiously revisit COVID-era music, with its \u201cwe\u2019ve all got wanderlust in the darkest place\u201d type lyrics. But until then: just go away, Say Something<\/em>. RM<\/em><\/p>\n

117: Supernova<\/em> (Disco<\/em>; 2020)
<\/strong>Kylie does Barbarella. RM<\/em><\/p>\n

116: If I Was Your Lover<\/em> (Kylie Minogue<\/em>; 1994)<\/strong>
In the early \u201990s Kylie and Prince struck up a friendship and the two made music together (not a euphemism). Kylie\u2019s record label at the time, the London indie Deconstruction, rejected their collab and we got this faux-Prince concoction instead. Labels, hey. RM<\/em><\/p>\n

115: Monday Blues<\/em> (Disco<\/em>; 2020)<\/strong>
Ever trend-hopping, Kylie adds some city-pop vibes to her disco formula. But it\u2019s not even a top ten song about Mondays. RM<\/em><\/p>\n

114: Rhythm of Love<\/em> (Rhythm of Love<\/em>; 1990)<\/strong>
Skittering \u201980s funk with a lot going on, including slap bass, a sax solo and a French spoken-word breakdown. This is maximalist Kylie, trying a bit too much. RM<\/em><\/p>\n

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Kylie Minogue in her Fever era.<\/span>Credit: <\/span>AP<\/cite><\/p>\n

113: Tightrope<\/em> (Fever<\/em>; 2001)<\/strong>
Fever<\/em> is probably a couple of tracks overlong, and here would be a good place to trim some fat. It doesn\u2019t sound all that dissimilar to Your Love<\/em>, either. AR<\/em><\/p>\n

112: One Boy Girl<\/em> (Rhythm of Love<\/em>; 1990)<\/strong>
Goes for Janet but comes off a little blue-eyed. Hearing Kylie go \u201ccheck it out!\u201d is a bit cringe. RM<\/em><\/p>\n

111: Heart Beat Rock<\/em> (X<\/em>; 2007)<\/strong>
Minogue is to be applauded for her forays into just about every type of pop imaginable, but the schoolyard rap here feels better suited to Gwen Stefani. AR<\/em><\/p>\n

110: Time Will Pass You By<\/em> (Kylie Minogue<\/em>; 1994) <\/strong>
Produced by English dance band M People, and it sounds it. It\u2019s like the dregs of Moving On Up<\/em>. RM<\/em><\/p>\n

109: No More Rain<\/em> (X<\/em>; 2007)<\/strong>
Ray of Light<\/em>-era Madonna comes to mind on this gossamer pop track, produced by Greg Kurstin, that\u2019s just a little too naff to be entirely convincing. AR<\/em><\/p>\n

108: Sincerely Yours<\/em> (Golden<\/em>; 2018)<\/strong>
107: Shelby \u201968<\/em> (Golden<\/em>; 2018)<\/strong>
After what she did to Olivia Rodrigo, I\u2019m surprised Taylor Swift didn\u2019t send Kylie a cease-and-desist letter over these. You\u2019d call it shameless if the copy-paste approach wasn\u2019t exactly what Kylie\u2019s career\u2019s been built on. RM<\/em><\/p>\n

106: Put Your Hands Up (If You Feel Love)<\/em> (Aphrodite<\/em>, 2010)<\/strong>
It\u2019s a meeting of Melbourne megastars, with Kylie collaborating with local sisters and EDM superstars Nervo. I can imagine this going off at the, um, Sidney Myer Music Bowl? (sorry, I don\u2019t know Melbourne\u2019s landmarks). RM<\/em><\/p>\n

105: Speakerphone<\/em> (X<\/em>; 2007)<\/strong>
Kylie did disco long before Madonna did, but Minogue seems inspired by Madge\u2019s pitched up vocals on Confessions On a Dancefloor<\/em> here, and it sounds a little derivative. AR<\/em><\/p>\n

104: Aphrodite<\/em> (Aphrodite<\/em>; 2010)<\/strong>
It\u2019s big and dumb in the same way as a Gwen Stefani schoolground chant, but Kylie\u2019s playful vocals almost sell it.<\/p>\n

103: I Don\u2019t Need Anyone<\/em> (Impossible Princess<\/em>; 1997)<\/strong>
Manic Street Preachers\u2019 James Dean Bradfield and Nick Jones co-wrote this generic pop-rock ditty that feels out of place amongst so much daring and inventiveness. AR<\/em><\/p>\n

102: Please Stay<\/em> (Light Years<\/em>; 2000)<\/strong>
Once again Kylie\u2019s pleading with a lover in this so-so pop track fuelled by sprightly flamenco-flavoured guitars, hand claps and 4\/4 beats aimed for the dancefloor. AR<\/em><\/p>\n

101: Where the Wild Roses Grow<\/em> (Murder Ballads<\/em>; 1996)<\/strong>
I can understand why Kylie might\u2019ve felt the desire to try something subversive with Nick Cave, but this song\u2019s annoying. RM<\/em><\/p>\n

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Kylie Minogue in 2007, the year she released album X.<\/span>Credit: <\/span>AP<\/cite><\/p>\n

100: Secrets<\/em> (Rhythm of Love<\/em>; 1990)
<\/strong>A Stock, Aitken and Waterman fave, recently revived as a Lip Sync for Your Life challenge on RuPaul\u2019s Drag Race<\/em>. RM<\/em><\/p>\n

99: Step Back in Time<\/em> (Rhythm of Love<\/em>; 1990)<\/strong>
I can\u2019t really get behind a song that starts with a chant like \u201cI wanna F-F-U, F-U-N-K\u201d and then spends three minutes nostalgically listing \u201970s dances like \u201cthe bus stop\u201d. But the hiphop production, still novel for Kylie at the time, salvages it. RM<\/em><\/p>\n

98: Your Disco Needs You<\/em> (Light Years<\/em>; 2000)<\/strong>
Co-written with Guy Chambers and Robbie Williams, this high camp moment \u2013 those horns! that chorus! \u2013 really should have been a Eurovision contender, complete with the naff section en Francais. AR<\/em><\/p>\n

97: Closer<\/em> (Aphrodite<\/em>; 2010)<\/strong>
Kylie does dark, sexy Italo disco. It never hits its climax, but maybe that\u2019s the point. RM<\/em><\/p>\n

96: Live a Little<\/em> (Golden<\/em>; 2018)<\/strong>
There\u2019s a nostalgic bent to this electro-country song that lends it some gravitas, coming as it does so deep into Kylie\u2019s career. But you couldn\u2019t pay me to dance to it. RM<\/em><\/p>\n

95: Nu-di-ty<\/em> (X<\/em>; 2007)<\/strong>
Minogue is vocodered beyond recognition on much of this track, another Madonna-esque R&B-leaning number loaded with plenty of sass but not nearly enough of the real Kylie. AR<\/em><\/p>\n

94: After Dark<\/em> (Body Language<\/em>; 2003)<\/strong>
Kylie tips her hat to Prince, another influence on Body Language<\/em>, with the funk guitars that promisingly open this track, but it stays stuck in cruise control. AR<\/em><\/p>\n

93: Dancefloor<\/em> (Fever<\/em>; 2001)<\/strong>
A cheesy but inoffensive commercial house number and Minogue\u2019s umpteenth ode to cutting a rug. Lovers and dancing will prove to be the defining themes of Kylie\u2019s career. AR<\/em><\/p>\n

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Kylie Minogue sings during the Scissor Sisters performance at the Glastonbury Festival 2010.<\/span>Credit: <\/span>Reuters<\/cite><\/p>\n

92: Dreams<\/em> (Impossible Princess<\/em>; 1997)<\/strong>
The idea of ostensibly having it all but still feeling unsatisfied resonated with Kylie, who named this album after Billy Childish\u2019s 1994 novel, Poems to Break the Hearts of Impossible Princesses<\/em>. AR<\/em><\/p>\n

91: Jump<\/em> (Impossible Princess<\/em>; 1997)<\/strong>
Australia\u2019s Rob Dougan had recently had a monster hit with Clubbed to Death<\/em> when he co-wrote and co-produced this downtempo trip-hop ballad, bolstered by Minogue\u2019s strong singing and intriguing lyrics. AR<\/em><\/p>\n

90: Koocachoo<\/em> (Light Years<\/em>; 2000)<\/strong>
Sounding ripe for the Austin Powers<\/em> soundtrack, Kylie channels her inner gogo dancer on this swinging \u201960s number, co-written by the brilliant Johnny Douglas, who co-produced George Michael\u2019s Fastlove<\/em>. AR<\/em><\/p>\n

89: Everything is Beautiful<\/em> (Aphrodite<\/em>; 2010)<\/strong>
A brooding pop-ballad with a heavy swinging beat and subtly catchy hook, co-written by the keyboardist from Keane (insert shrug emoji). RM<\/em><\/p>\n

88: Sweet Music<\/em> (Body Language<\/em>; 2003)<\/strong>
Winking at her late former flame Michael Hutchence (\u201cnew sensation, new sensation\u201d), this swaggering track is polished, but feels a bit busy sonically. AR<\/em><\/p>\n

87: Loving Days<\/em> (Body Language<\/em>; 2003)<\/strong>
Another track where Kylie is luxuriating in the bliss of a new relationship, this slowie is based around circular blobs of murky bass and sumptuous strings and concludes with a fine vocal breakdown. AR<\/em><\/p>\n

86: I Was Gonna Cancel<\/em> (Kiss Me Once<\/em>; 2014)<\/strong>
You\u2019d think a collaboration between Kylie and Pharrell Williams would be mind-blowing, but this overworked slice of Daft Punk-ish French-electro at least has its charms \u2013 like that crazy opera sample and Kylie singing, \u201cEverything is clearer than a mirror is to woman just the same as a dog is to man\u201d. What? RM<\/em><\/p>\n

85: Dancing<\/em> (Golden<\/em>; 2018)<\/strong>
Oh nothing, just Kylie trying her hand at some more Swiftian country dance-pop. She even throws in a bit of Nashville twang in her vocals. There\u2019s nothing Kylie won\u2019t try once. RM<\/em><\/p>\n

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Kylie Minogue in 2014.<\/span>Credit: <\/span>Cameron Spencer\/Getty Images<\/cite><\/p>\n

84: If Only<\/em> (Kiss Me Once<\/em>; 2014)<\/strong>
Co-written and produced by pedigreed hitmakers Ariel Rechtshaid and Dan Nigro, it\u2019s an intriguing banger \u2013 melancholy and dramatic and driven by a Kate Bush-like vocal performance from Kylie. RM<\/em><\/p>\n

83: Feels So Good<\/em> (Kiss Me Once<\/em>; 2014)<\/strong>
A spacious staccato song that finds Kylie in desperate yearning mode. But maybe it just sounds good on Kiss Me Once<\/em> because it comes right after Sexercize<\/em>. RM<\/em><\/p>\n

82: Count the Days<\/em> (Rhythm of Love<\/em>; 1990)<\/strong>
A sort of blue-eyed version of Evelyn Champagne King\u2019s classic Love Come Down<\/em>, and just as catchy. For \u201980s funk completists, it\u2019s worth a rediscovery. RM<\/em><\/p>\n

81: So Now Goodbye<\/em> (Light Years<\/em>; 2000)<\/strong>
Landing somewhere between disco and loungey house music, So Now Goodbye<\/em> is a defiant kiss off to a lover who\u2019s had one too many second chances. AR<\/em><\/p>\n

80: I Guess I Like It Like That<\/em> (Let\u2019s Get To It<\/em>; 1991)<\/strong>
Big tent acid house featuring a shameless sample of 2 Unlimited\u2019s Get Ready For This<\/em>? I guess I like it! You can picture Kylie joyfully going off with the e\u2019d out kids at the Hacienda circa 1990. RM<\/em><\/p>\n

79: Through the Years<\/em> (Impossible Princess<\/em>; 1997)<\/strong>
The pace is slowed right down on this languid, jazzy trip-hop number about time wasted on a failed relationship, with subtle bursts of sax that go large towards the song\u2019s end. AR<\/em><\/p>\n

78: Look My Way<\/em> (Kylie<\/em>; 1988)<\/strong>
Is it a crime if a burgeoning \u201980s pop star wants her own version of Madonna\u2019s Into the Groove<\/em>? No, of course not. An early example of Kylie\u2019s trend-chasing tendencies, and we should all approve. RM<\/em><\/p>\n

77: Love Boat<\/em> (Light Years<\/em>; 2000)<\/strong>
Evoking a vintage summer holiday in Saint-Tropez, Love Boat<\/em> kicks off the bossa nova-flavoured middle section of Light Years<\/em>, with Minogue cutely flexing her (pretty decent) French. AR<\/em><\/p>\n

76: Wouldn\u2019t Change a Thing<\/em> (Enjoy Yourself<\/em>; 1989)<\/strong>
You\u2019ve gotta love an \u201980s pop song that overuses the hip-hop stutter effect: \u201cAh-ah-ah-I wouldn\u2019t change a thing!\u201d The chorus, both uplifting and naive, is deceptively catchy. RM<\/em><\/p>\n

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Kylie Minogue in 2018, the year Golden was released.<\/span>Credit: <\/span>AP<\/cite><\/p>\n

75: New York City<\/em> (Step Back in Time: The Definitive Collection<\/em>; 2019)<\/strong>
Just a stupidly fun B-side, featuring a sample from Mylo\u2019s enduring Drop the Pressure<\/em>. RM<\/em><\/p>\n

74: Especially For You<\/em> (Ten Good Reasons<\/em>; 1989)<\/strong>
Which side of the road do you land on: Kylie\u2019s duet with Jason Donovan, or Kylie\u2019s duet with Nick Cave? I mean, there\u2019s only one correct answer. RM<\/em><\/p>\n

73: Never Too Late<\/em> (Enjoy Yourself<\/em>; 1989)<\/strong>
You can already picture the feathers in Kylie\u2019s future after listening to this soaring disco number. Not just a throwback, the energetic breakdown points to Kylie\u2019s burgeoning interest in Euro house. RM<\/em><\/p>\n

72: Things Can Only Get Better<\/em> (Rhythm of Love<\/em>; 1990)<\/strong>
No, it\u2019s not ~that~ Things Can Only Get Better<\/em>, but it\u2019s still got something to offer \u2013 and that\u2019s mainly big house synths and a classic uplifting message: \u201cBe proud of yourself!\u201d RM<\/em><\/p>\n

71: Sexy Love<\/em> (Kiss Me Once<\/em>; 2014)<\/strong>
I wouldn\u2019t be surprised to find out that Carly Rae Jepsen listens to this one a lot. RM<\/em><\/p>\n

70: Unstoppable<\/em> (Disco<\/em>; 2020)<\/strong>
Muted \u201980s funk but Kylie\u2019s squeaky adlibs make it fun, like Donna Summer on helium. RM<\/em><\/p>\n

69: Automatic Love<\/em> (Kylie Minogue<\/em>; 1994)<\/strong>
Another slinky number from Kylie\u2019s sexiest period. This one\u2019s worth it for the \u201990s tech innuendo: \u201cI didn\u2019t feel you enter in my main menu, but every time I touch the key the screen is showing you.\u201d RM<\/em><\/p>\n

68: Like A Drug<\/em> (X<\/em>; 2007)<\/strong>
Kylie goes back to the club on this sleek electropop cut, sounding not unlike something Alison Goldfrapp or Toxic<\/em>-era Britney Spears might\u2019ve come out with. AR<\/em><\/p>\n

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Kylie Minogue at Glastonbury in 2019.<\/span>Credit: <\/span>Neil Hall<\/cite><\/p>\n

67: Give it To Me<\/em> (Fever<\/em>; 2001)<\/strong>
The weak links on Fever<\/em> are still pretty strong, like this funky, sex-positive jam where Kylie is not at all shy about communicating her desires,\u201clike I want it.\u201d AR<\/em><\/p>\n

66: Les Sex<\/em> (Kiss Me Once<\/em>; 2014)<\/strong>
\u201cWe could call it\u2026 les hand on les leg,\u201d sings Kylie. And somehow it could still be a bit cheesier. RM<\/em><\/p>\n

65: I Love It<\/em> (Disco<\/em>; 2020)<\/strong>
Dua Lipa wishes she got disco strings and a horn section this luxurious. RM<\/em><\/p>\n

64: Where is the Feeling<\/em> (Kylie Minogue<\/em>; 1994)<\/strong>
Kylie\u2019s love of Chicago house legends like Larry Heard and Frankie Knuckles comes through on this slick seven-minute jam, produced by UK trio Brothers in Rhythm. It feels like a glimpse of the disco-pop to come. RM<\/em><\/p>\n

63: Disco Down<\/em> (Light Years<\/em>; 2000)<\/strong>
Snippets of robotic vocals open this Moroder-esque Eurodance track with lyrics that are alternately kitschy and perfect: \u201cWhy\u2019d you leave to find yourself\/ I can\u2019t dance with no one else.\u201d AR<\/em><\/p>\n

62: Love Affair<\/em> (Fever<\/em>; 2001)<\/strong>
The Eurodance stylings here feel better suited to Light Years<\/em> than Fever<\/em>. The chorus is winning, however \u2013 a sugar rush of driving acid squiggles, vocal layering and filtered synths. AR<\/em><\/p>\n

61: Giving You Up<\/em> (Ultimate Kylie<\/em>; 2004)<\/strong>
A super-fun swirling B-side built around grinding synths and a spoken-sing delivery that gives it a \u201990s Britpop throwback vibe. RM<\/em><\/p>\n

60: Someday<\/em> (Body Language<\/em>; 2003)<\/strong>
Green Gartside of Scritti Politti \u2013 a huge influence on Body Language<\/em> \u2013 lends his reedy vocals to this lysergic, ambling track with strange percussion flourishes. AR<\/em><\/p>\n

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Kylie Minogue performs during Global Citizen Live in London in 2021.<\/span>Credit: <\/span>Getty Images Europe<\/cite><\/p>\n

59: Say Hey<\/em> (Impossible Princess<\/em>; 1997)<\/strong>
This stormy late-night track is loaded with clubby synths and finds Kylie at her most coyly suggestive \u2013 \u201cDon\u2019t want to disturb you, but I must\/ Just to say, \u2018Hey\u2019,\u201d she murmurs. AR<\/em><\/p>\n

58: Chocolate<\/em> (Body Language<\/em>; 2003)<\/strong>
Kylie adopts a slinky, sexy cadence and helium-like vocal treatment on this quiet storm jam where she compares her love addiction to chocolate. Co-written by heavyweight Karen Poole. AR<\/em><\/p>\n

57: In Your Eyes<\/em> (Fever<\/em>; 2001)<\/strong>
Built around a glittery stomping kick, this calls back to the beginning of Disco Kylie (\u201cis the world still spinning around?\/spinning arounddddd,\u201d she purrs) and some Nile Rodgers-inspired flourishes. AR<\/em><\/p>\n

56: I Still Love You (Je Ne Sais Pas Pourquoi)<\/em> (Kylie<\/em>; 1988)<\/strong>
The sort of wistful pop which, 35 years on, still feels like Kylie\u2019s bread and butter. Today, it would kill in a mix next to some Carly Rae (maybe listened to at 1.5x speed). RM<\/em><\/p>\n

55: I Should Be So Lucky<\/em> (Kylie<\/em>; 1988)<\/strong>
Released in December 1987 when Kylie was just 19, the peppy overproduction masks a melancholy yearning (\u201cI\u2019m dreaming that you\u2019re in love with me like I\u2019m in love with you\u201d). Those diva-ish adlibs at the end are hilariously thin, but that\u2019s just part of the charm. RM<\/em><\/p>\n

54: More More More<\/em> (Fever<\/em>; 2001)<\/strong>
So saucy it should almost have an R-rating, More More More<\/em> is hitched to an agreeable house beat and sets the tone for what will be Kylie\u2019s raciest album yet. AR<\/em><\/p>\n

53: Promises<\/em> (Body Language<\/em>; 2003)<\/strong>
Co-written and produced by legendary Jamaican artist Kurtis Mantronik, this breezy, shimmering pop track makes lemonade out of a failed relationship. AR<\/em><\/p>\n

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Kylie Minogue, performing in Sydney in 2022.<\/span>Credit: <\/span>Jessica Hromas<\/cite><\/p>\n

52: Fever<\/em> (Fever<\/em>; 2001)<\/strong>
This quirky pop song features a nice key change at the chorus and makes a better fist of describing the kind of infatuation that invades every waking thought. AR<\/em><\/p>\n

51: All the Lovers<\/em> (Aphrodite<\/em>; 2010)<\/strong>
Elegiac electro-disco built on a soaring squiggly hook, like Kylie suddenly got into MGMT. It\u2019s a compliment. RM<\/em><\/p>\n

50: Too Far<\/em> (Impossible Princess<\/em>; 1997)<\/strong>
The most misunderstood and underappreciated album of Kylie\u2019s career kicks off with this sultry fever dream. Underpinned by some \u201990s breakbeats, it\u2019s one of the few tracks written entirely by Minogue. AR<\/em><\/p>\n

49: Raining Glitter<\/em> (Golden<\/em>; 2018)<\/strong>
Easily the highlight of Kylie\u2019s country experiment. Like Fleetwood Mac discovered disco. RM<\/em><\/p>\n

48: Cupid Boy<\/em> (Aphrodite<\/em>; 2010)<\/strong>
A massive EDM festival banger, this one produced by Sebastian Ingrosso of Swedish House Mafia. Kylie\u2019s vocals twist and turn delightfully. RM<\/em><\/p>\n

47: Some Kind of Bliss<\/em> (Impossible Princess<\/em>; 1997)<\/strong>
The album\u2019s biggest hit, lead single (against Kylie\u2019s wishes) and Britpoppiest moment was co-written by members of the Manic Street Preachers and finds Minogue languorously extolling the benefits of mindfulness. AR<\/em><\/p>\n

46: Limbo<\/em> (Impossible Princess<\/em>; 1997)<\/strong>
This is the track Minogue wanted used for the lead single, a rocky slice of electronica that encapsulates the overall vibe of the album much better than Some Kind of Bliss<\/em>. AR<\/em><\/p>\n

45: All I See<\/em> (X<\/em>; 2007)<\/strong>
This track has the bubbly, bouncy energy of an infatuated teenager, which is why, despite its extremely catchy groove, it feels like it doesn\u2019t quite belong to Kylie. AR<\/em><\/p>\n

44: Red-Blooded Woman<\/em> (Body Language<\/em>; 2003)<\/strong>
This R&B-flavoured cut (think Timbaland and Justin Timberlake) finds Kylie in seductress mode and features the indelible lyric \u201cyou\u2019ll never get to heaven if you\u2019re scared of getting high.\u201d AR<\/em><\/p>\n

43: Kids <\/em>(with Robbie Williams) (Light Years<\/em>; 2000)<\/strong>
Definitely one of the strongest tracks on Light Years<\/em>, even if it feels like an ill fit. Unfortunately, Williams\u2019 voice is much louder in the mix than Kylie\u2019s. AR<\/em><\/p>\n

42: I Feel For You<\/em> (Body Language<\/em>; 2003)<\/strong>
She\u2019s definitely nodding to Chaka Khan here but Kylie also turns this song into entirely her own thing, aided by spritely piano bursts and noodling bass. AR<\/em><\/p>\n

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Kylie Minogue performing earlier this year.<\/span>Credit: <\/span>Getty Images<\/cite><\/p>\n

41: Obsession<\/em> (Body Language<\/em>; 2003)<\/strong>
Channelling \u201990s hip-hop divas like Brandy and Monica, Kylie layers her own vocals to sound like bandmates. That the results are not cringeworthy is quite an achievement. AR<\/em><\/p>\n

40: Dance Floor Darling<\/em> (Disco<\/em>; 2020)<\/strong>
A sprightly \u201980s dance-pop banger that\u2019d fit so neatly next to Lizzo on your \u201cgetting ready to go out\u201d playlist. RM<\/em><\/p>\n

39: Real Groove<\/em> (Disco<\/em>; 2020)<\/strong>
This is Minogue restating her disco credentials against current stars in the genre like Dua Lipa (who, coincidentally, appeared on the remix). \u201cI saw you dancing with somebody, looking like me and you\/ She know how to party, but nothing like me and you,\u201d Kylie sings, brushing the pretenders away. RM<\/em><\/p>\n

38: Turn It Into Love<\/em> (Kylie<\/em>; 1988)<\/strong>
Proof that Kylie\u2019s been doing Euro-disco since the very beginning. The chorus is the sort of earworm you\u2019ll suddenly find yourself repeating every time you turn a tap, a doorknob, etc (\u201cTurn it! Turn it!\u201c). RM<\/em><\/p>\n

37: Cowboy Style<\/em> (Impossible Princess<\/em>; 1997)<\/strong>
Before Madonna\u2019s Ray of Light<\/em> and Music<\/em> was Cowboy Style<\/em>, Minogue\u2019s delightfully strange, vaguely Celtic jaunt featuring violins, squelchy bass stabs, a stunning back-end breakdown and some Bjork-ish yelps. AR<\/em><\/p>\n

36: Fragile<\/em> (Fever<\/em>; 2001)<\/strong>
A balladic interlude that works, aided by ethereal synths, breathy whispers, judicious use of strings. Co-written by Rob Davis, who had a hand in most of Fever<\/em>\u2019s best songs. AR<\/em><\/p>\n

35: Slow<\/em> (Body Language<\/em>; 2003)<\/strong>
Having rinsed the disco genre on her previous two albums, Kylie explored new genres on Body Language<\/em> including the minimal synthpop of Slow<\/em>, one of her own favourite songs. AR<\/em><\/p>\n

34: Breathe<\/em> (Impossible Princess<\/em>; 1997)<\/strong>
A sexy, lean electropop cut co-written by Soft Cell\u2019s Dave Ball, Breathe<\/em> aims for the heavens and largely succeeds by way of blissful, pillowy chords and Minogue\u2019s nuanced, affecting delivery. AR<\/em><\/p>\n

33: Got To Be Certain<\/em> (Kylie<\/em>; 1988)<\/strong>
A swinging singalong track about knowing the right time to lose one\u2019s virginity. They should play this in high schools. RM<\/em><\/p>\n

<\/p>\n

Kylie in her Padam Padam era.<\/span><\/p>\n

32: What Do I Have to Do<\/em> (Rhythm of Love<\/em>; 1990)<\/strong>
Who can fault Kylie\u2019s full embrace of \u201990s UK acid house? Not I. The football stadium samples backing her add some nice Britpop atmosphere. RM<\/em><\/p>\n

31: 2 Hearts<\/em> (X<\/em>; 2007)<\/strong>
Kylie\u2019s comeback album following her treatment for breast cancer finds her still willing to experiment, and the jolly art-pop of 2 Hearts<\/em> is a success. AR <\/em><\/p>\n

30: Can\u2019t Beat the Feeling<\/em> (Aphrodite<\/em>; 2010)<\/strong>
The closer on Kylie\u2019s infectious EDM album is great upbeat dance-pop, full of love and joy and cowbell and a vocoded breakdown that harks back to Daft Punk \u2013 and Kylie nails it. RM<\/em><\/p>\n

29: Burning Up<\/em> (Fever<\/em>; 2001)<\/strong>
Opening with lilting guitars that make way for a gotcha pop of disco synths, this bait and switch repeats throughout to delicious effect, while the vocodering adds extra intrigue. AR<\/em><\/p>\n

28: Tension<\/em> (Tension<\/em>; 2023)<\/strong>
Another new track made for TikTok virality, as if hearing Android Kylie chant \u201cOh my god, touch me right there\u201d isn\u2019t its own reward. RM<\/em><\/p>\n

27: Falling<\/em> (Kylie Minogue<\/em>; 1994)<\/strong>
Written by the Pet Shop Boys but given the acid-house treatment by UK producers Pete Heller and Terry Farley, it\u2019s another showcase of Kylie\u2019s exquisite taste and ability to challenge her listeners\u2019 expectations. RM<\/em><\/p>\n

26: Wow<\/em> (X<\/em>; 2007)<\/strong>
The most energetic track on this record and by far the most fun, there are disco spangles, an ecstatic chorus and bright synths \u2013 all commonly found on Kylie\u2019s best tracks. AR<\/em><\/p>\n

25: Light Years<\/em> (Light Years<\/em>; 2000)<\/strong>
Moroder\u2019s influence is felt again in this lyrically silly but still great space disco track. The chorus, where Kylie goes a little Donna Summer, is especially effective. AR<\/em><\/p>\n

24: The One<\/em> (X<\/em>; 2007)<\/strong>
I\u2019m reminded of Goldfrapp \u2013 those breathy vocals, the chilly, circular synths \u2013 on this effervescent, play-it-again track that should\u2019ve been a much bigger hit, frankly. AR<\/em><\/p>\n

23: Drunk<\/em> (Impossible Princess<\/em>; 1997)<\/strong>
There\u2019s more than a touch of Bjork to this renegade rave number, a frenetically paced confection of psytrance synths, Broadway-ready pizzazz and intriguing vocal layering. Brothers in Rhythm strike again. AR<\/em><\/p>\n

22: Surrender<\/em> (Kylie Minogue<\/em>; 1994)<\/strong>
A sultry trip-hop exercise highlighting Kylie\u2019s reinvention to mature artist. It\u2019s a mesmerising performance, so sexy that I can imagine Jocelyn from The Idol<\/em> doing it. You\u2019ll need a cigarette by the end of that spoken-word breakdown. RM<\/em><\/p>\n

21: Secret (Take You Home)<\/em> (Body Language<\/em>; 2003)<\/strong>
Another playful romp that packs a lot of surprising detours into its 3:16 running time. The mid-track schoolgirl rap and crunching synths are especially fun. AR<\/em><\/p>\n

20: Too Much<\/em> (Aphrodite<\/em>; 2010)<\/strong>
Produced by Calvin Harris with fat Euro-house stabs and a ridiculously catchy chorus, another underrated banger from Kylie\u2019s EDM era. You can\u2019t play it just once. RM<\/em><\/p>\n

19: Still Standing<\/em> (Body Language<\/em>; 2003)<\/strong>
There\u2019s a distinctive \u201980s feel to the wonderfully inventive Still Standing<\/em>, at once recalling both Peter Gabriel and Prince. An underrated gem and testament to Kylie\u2019s versatility. AR<\/em><\/p>\n

18: Hand on Your Heart<\/em> (Enjoy Yourself<\/em>; 1989)<\/strong>
A near-perfect marriage of forlorn heartbreak, extremely peppy production and a typically huge singalong chorus. If those \u201990s house synths in the bridge don\u2019t make you start doing the running man, something\u2019s wrong. RM<\/em><\/p>\n

17: The Loco-Motion<\/em> (Kylie<\/em>; 1988)<\/strong>
Kylie\u2019s debut single \u2013 a cover of Little Eva\u2019s 1962 hit \u2013 is a surprisingly gritty sex track built on chugging synths and girl-group harmonies, and Kylie sings it knowingly (not coyly). How did this not scandalise people back in the \u201980s? RM<\/em><\/p>\n

16: Did It Again<\/em> (Impossible Princess<\/em>; 1997)<\/strong>
Production duo Brothers in Rhythm (progressive house producer Dave Seaman and Steve Anderson) co-wrote a few tracks on Impossible Princess<\/em> including this pop-rock earworm, with \u201cIndie Kylie\u201d in self-flagellating mode. AR<\/em><\/p>\n

15: Where Has the Love Gone<\/em> (Kylie Minogue<\/em>; 1994)<\/strong>
A real hidden gem. Helmed by UK house music producers Pete Heller and Terry Farley, it\u2019s a proper journey across its eight-minute runtime \u2013 a sultry breakup track with attitude, atmosphere and ambition. RM<\/em><\/p>\n

14: Padam Padam<\/em> (Tension<\/em>; 2023)<\/strong>
The universe-conquering song of the year, and the year was barely halfway through. RM<\/em><\/p>\n

13: Come into My World<\/em> (Fever<\/em>; 2001)<\/strong>
The bouncing synth invokes Can\u2019t Get You Out Of My Head<\/em>, but this feels more narcotised thanks to arpeggiating flute synths in the chorus that send the song skywards. AR<\/em><\/p>\n

12: Skirt<\/em> (Skirt EP<\/em>; 2013)<\/strong>
\u201cAnd then my skirt came\u2026 down, down, down\u201d sings Kylie on this spectacular, abrasive, sublime dubstep banger. It makes you wonder what might\u2019ve happened had Kylie met Sophie. RM<\/em><\/p>\n

11: I Believe In You<\/em> (Ultimate Kylie<\/em>; 2004)<\/strong>
Featured as a new single on Kylie\u2019s 2004 greatest hits compilation and built around a gurgling synth loop, it\u2019s one of those tracks that highlights Kylie\u2019s peerless taste and sophistication. RM<\/em><\/p>\n

10: Finer Feelings<\/em> (Let\u2019s Get To It<\/em>; 1991)<\/strong>
Kylie\u2019s first single not to break the Top 50 in Australia, because Australia just wasn\u2019t ready. A dark, slinky, provocative song about her sexual desire with a bizarre earworm of a chorus. So underrated. RM<\/em><\/p>\n

9: Put Yourself in My Place<\/em> (Kylie Minogue<\/em>; 1994)<\/strong>
A perfect pop ballad. It\u2019s evocative, wistful and melancholic, but boasts a huge rousing chorus and what might be Kylie\u2019s rawest vocals ever, full of force and feeling. I could listen to this on repeat for hours, and I have. RM<\/em><\/p>\n

8: Get Outta My Way<\/em> (Aphrodite<\/em>; 2010)<\/strong>
Big tent EDM with infectious kiss-off energy from Kylie: \u201cI\u2019m about to let you see, this is what\u2019ll happen if you ain\u2019t giving your girl what she needs!\u201d So good, turn it up loud. RM<\/em><\/p>\n

7: On A Night Like This<\/em> (Light Years<\/em>; 2000)<\/strong>
The soaring Europop of On A Night Like This<\/em> landed an extremely strong one-two punch to kick off Light Years<\/em> and marked a sharp pivot from Impossible Princess<\/em>\u2019s \u201cIndie Kylie\u201d. AR<\/em><\/p>\n

6: Confide In Me<\/em> (Kylie Minogue<\/em>; 1994)<\/strong>
The real start of Kylie\u2019s ambitious alt-period (or as the UK press disparagingly called it: \u201cIndie Kylie\u201d). Built on a trip-hop beat and an ominous violin hook, it\u2019s unlike anything else in Kylie\u2019s discography. Iconic. RM<\/em><\/p>\n

5: Better the Devil You Know<\/em> (Rhythm of Love<\/em>; 1990)<\/strong>
Supposedly written about her relationship with Michael Hutchence at the time (who\u2019s gonna argue against the mythology?), it\u2019s a classic. Kylie strains to rise above the wall of sound production (stuttering synths, piano fills, soaring strings and harmonies), lending the song\u2019s resigned desperation (\u201cI\u2019ll take you back again\u201d) the proper spirit. RM<\/em><\/p>\n

4: Shocked<\/em> (Rhythm of Love<\/em>; 1990)<\/strong>
Stock, Aitken and Waterman\u2019s masterpiece? Perhaps. A fat bassline and heavy electro beat makes way for acid squiggles, a huge guitar riff, even cowbell, in a track that builds and builds and builds. Kylie\u2019s delivery is flawless and that chorus is perfect. RM<\/em><\/p>\n

3: Spinning Around<\/em> (Light Years<\/em>; 2000)<\/strong>
Originally co-written by Paula Abdul and intended for her album, this irresistible, spangly disco track instead launched Kylie\u2019s halcyon era, as did the gold hotpants she wore in the music video. AR<\/em><\/p>\n

2: Can\u2019t Get You Out of My Head<\/em> (Fever<\/em>; 2001)<\/strong>
Deservedly topping the charts in 40 countries, the \u201cla la la\u201d song made Kylie a star in the US and will still fill any dancefloor it\u2019s played on. AR<\/em><\/p>\n

1: Love at First Sight<\/em> (Fever<\/em>; 2001)<\/strong>
Fever<\/em>\u2019s first big wow moment is this \u2014 a euphoric track, inspired by French filter house, that finally captures the kind of giddy love that Kylie\u2019s previous songs failed to. A perfect pop song. AR<\/em><\/p>\n

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By Robert Moran and Annabelle Ross We just can\u2019t get her out of our heads. Save articles…<\/p>\n","protected":false},"author":2,"featured_media":222048,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"yoast_head":"\nEvery Kylie Minogue song ranked - All World Report<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/allworldreport.com\/lifestyle\/every-kylie-minogue-song-ranked\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Every Kylie Minogue song ranked - All World Report\" \/>\n<meta property=\"og:description\" content=\"By Robert Moran and Annabelle Ross We just can\u2019t get her out of our heads. 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