Kylie Minogue ‎– Kylie Minogue

Label:
Deconstruction ‎– Kylie 1, Deconstruction ‎– 74321 517272
Format:
CD, Album, Promo
Country:
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Tracklist Hide Credits

1 Too Far
Arranged By [String Arrangement] – Brothers In Rhythm, Will Malone*Cello – Martin LovedayFiddle – Bogislav Kostecki*Guitar – Greg BoneKeyboards, Drum Programming, Concert Grand Piano – Steve AndersonProducer – Brothers In RhythmViola – Peter LaleViolin – Gavyn WrightWritten-By – Kylie Minogue
4:43
2 Cowboy Style
Fiddle – Johnnie HardyGuitar – Greg Bone, Steve AndersonKeyboards, Drum Programming – Steve AndersonProducer – Brothers In RhythmWritten-By – David Seaman*, Kylie Minogue, Steve Anderson
4:45
3 Some Kind Of Bliss
Arranged By [String Arrangement] – Sally HerbertDrums – Sean MooreFlute – Simon Clarke (2)Keyboards – Nick NasmythLead Guitar, Bass Guitar – James Dean BradfieldPercussion – Andy DuncanProducer – Dave Eringa, James Dean BradfieldSaxophone – Simon Clarke (2), Tim SandersStrings – Anne Stephenson, Claire Orsler, Gini Ball, Jocelyn Pook, Sally HerbertTrombone – Neil SidwellTrumpet – Roddy LorimerWritten-By – James Dean Bradfield, Kylie Minogue, Sean Moore
4:13
4 Did It Again
Bass – Steve WaltersGuitar – Greg Bone, Steve AndersonKeyboards, Drum Programming, Organ [Hammond B3] – Steve AndersonProducer – Brothers In RhythmWritten-By – David Seaman*, Kylie Minogue, Steve Anderson
4:23
5 Breathe
Bass Guitar – Livingstone BrownDrums [Additional], Percussion [Additional] – Steve SidelnykInstruments [All Other Instruments] – Dave Ball, Ingo VaukProducer – Dave Ball, Ingo VaukSynthesizer [Vocal] – Kylie MinogueWritten-By – Dave Ball, Ingo Vauk, Kylie Minogue
4:38
6 Say Hey
Keyboards, Drum Programming – Steve AndersonProducer – Brothers In RhythmProgrammed By [Additional Programming] – Alan BremnerWritten-By – Kylie Minogue
3:38
7 Drunk
Arranged By [String Arrangement] – Will Malone*Keyboards, Drum Programming, Concert Grand Piano – Steve AndersonLeader [Orchestra Led By] – Gavyn WrightProducer – Brothers In RhythmWritten-By – David Seaman*, Kylie Minogue, Steve Anderson
4:00
8 I Don't Need Anyone
Arranged By [String Arrangement] – Dave Eringa, Nick Nasmyth, Sally HerbertDrums – Sean MooreFlute – Simon Clarke (2)Keyboards – Nick NasmythLead Guitar, Bass Guitar – James Dean BradfieldPercussion – Andy DuncanProducer – Dave Eringa, James Dean BradfieldStrings – Anne Stephenson, Claire Orsler, Gini Ball, Jocelyn Pook, Sally HerbertWritten-By – James Dean Bradfield, Kylie Minogue, Nick Jones (5)
3:13
9 Jump
Co-producer – Jay BurnettEngineer – Pete Craige*Producer – Rob DouganWritten-By – Kylie Minogue, Rob Dougan
4:04
10 Limbo
Drums, Percussion – Steve SidelnykGuitar – Geoff BirdInstruments [All Other Instruments] – Dave Ball, Ingo VaukProducer – Dave Ball, Ingo VaukWritten-By – Dave Ball, Ingo Vauk, Kylie Minogue
4:06
11 Through The Years
Drums [Additional], Percussion [Additional] – Steve SidelnykInstruments [All Other Instruments] – Dave Ball, Ingo VaukProducer – Dave Ball, Ingo VaukTrumpet – Guy BarkerWritten-By – Dave Ball, Ingo Vauk, Kylie Minogue
4:20
12 Dreams
Arranged By [String Arrangement] – Brothers In Rhythm, Will Malone*Bass – Steve WaltersGuitar – Greg BoneKeyboards, Drum Programming – Steve AndersonLeader [Orchestra Led By] – Gavyn WrightProducer – Brothers In RhythmStrings [String Quartet] – Bogislav Kostecki*, Gavyn Wright, Martin Loveday, Peter LaleWritten-By – David Seaman*, Kylie Minogue, Steve Anderson
3:44

Companies, etc.

Credits

Notes

CD in Standard Jewel Case.

Tracks 1 and 6 Mushroom Music International.
Tracks 3 and 8 Mushroom Music International/Sony Music.
Tracks 2, 4, 7 and 12 Mushroom Music International/BMG Music Publishing Ltd/MCA Music.
Tracks 5, 10 and 11 Mushroom Music Management/Deconstruction Songs/19 Music/BMG Music Publishing Ltd.
Track 9 Mushroom Music International/BMG Music Publishing Ltd.

℗ 1997 BMG Entertainment International UK and Ireland Ltd. The copyright in this sound recording is owned by BMG Entertainment International UK and Ireland Ltd.
© 1997 Deconstruction Ltd. Promo only not for resale.
Kylie 1.

Barcode and Other Identifiers

  • Barcode: 743215172727
  • Label Code: LC 8280
  • Distribution Code (France): BM 650
  • Matrix / Runout (mirrored): DISCTRONICS S 743215-17272 01
  • Mastering SID Code (mirrored): IFPI L502
  • Mould SID Code (Variant 1): IFPI 8724
  • Mould SID Code (Variant 2): IFPI 8725

Other Versions (5 of 36) View All

Cat# Artist Title (Format) Label Cat# Country Year
KYLIE 1 Kylie Minogue Impossible Princess(CD, Album, Promo) Deconstruction KYLIE 1 UK 1997 Sell This Version
82876 511152, 82876511152 Kylie Minogue Impossible Princess(CD, Album, RM + CD, RM + RE, RP, S/Edition, Son) BMG UK & Ireland, BMG UK & Ireland 82876 511152, 82876511152 UK & Ireland 2005 Sell This Version
74321 517272 Kylie Minogue Impossible Princess(CD, Album) Deconstruction 74321 517272 Hong Kong 1997 Sell This Version
74321 517272 Kylie Minogue Kylie Minogue(CD, Album, Ltd) Deconstruction, BMG 74321 517272 UK 1998 Sell This Version
74321 517272 Kylie Minogue Kylie Minogue(CD, Album) Deconstruction 74321 517272 Europe 1998 Sell This Version

Reviews Show All 2 Reviews

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IanPhillips1979

IanPhillips1979

May 9, 2016

Wow! This was a long, long way from the likes of Kylie's PWL days churning out squeaky-clean pop like 'I Should Be So Lucky'. In fact listening to 'Impossible Princess' you'd be hard-pressed to realise this is actually the same artist. After Kylie fled the PWL label in 1992, she signed to Deconstruction, which saw her grow and mature as an artist. Suddenly the critics sat up and took notice, including all of those that had previously shunned her as just a mere product of the Stock, Aiken & Waterman hit-making machine. Her eponymous 1994 studio album gained quite a lot of critical praise, many noticing how considerably Kylie had developed her singing style.

In between her next studio album, she gained further accolades from the serious music press by duetting with Nick Cave on the macabre 'Where The Wild Roses Grow', a morbid number in which Kylie plays Cave's victim after he caves her head in. A huge commercial success to boot, it did leave some wondering where Kylie was heading to next. Well, she went on further experimenting, collaborating with the likes of the Manic Street Preachers, Rob Dougan and Brothers In Rhythm, all credible and highly revered producers. This culminated in the album 'Impossible Princess' and it was clear it was a project where she was making some kind of statement. Gone were the happy-go-lucky lyrics and bubbly vocals from Kylie, replaced with a dark, edgy, angry, even paranoid persona. Does it work? A big YES! BUT, I will admit, when it first came out and like so many others I didn't like it. My bad! I guess, like many other fans, it was so drastically different from anything she had done before that I just didn't quite know what to make of it. NOW, though, I consider this a highlight in her career.

Although considered a relative failure in commercial terms (by her high standards that is), this is easily her most artistic, diverse and adventurous album. Sadly, it seemed she wasn't quite able to shake off the image people had of her as the smiling girl-next-door, pop-dance princess, and thus wasn't taken too seriously (NME magazine calling her a "fraud"). Thankfully though, critical revisionism has seen this album receiving the wide accolades it really deserved at the time. It is now often labeled as a "forgotten classic".

Although this phase in her career is often referred to as "Indie Kylie", I think that is actually not a fair or true representation of this album. It covers an amalgamation of various styles, including trip-hop, trance, rock and much more. Stand outs for me include the opening number 'Too Far', which is ethereal in tone, intense, almost agraphobic. Frenetic in tone, Kylie's opening sullen, pent-up spoken passage is accompanied by creepy horror movie piano and sweeping cello before kicking in to the haunting chorus backed by a dark, thumping techno arrangement. This would have made the ideal single release.
Instead, the single's premier single was the indie-oriented 'Some Kind Of Bliss', which jumped on the Britpop bandwagon of the time and was met with instantly scathing reviews from critics. A blistering rock track with soaring strings. Kylie's almost unrecognisable here, hence why it may have charted disappointingly. Yet, strangely, this has held the test of time very well and is one that has grown on me in the ensuing years.

'Did It Again' became the second single and was a fairly vicious number, co-written by Brothers In Rhythm, which sees Kylie's vocals entwined with tinkling sitar and aggressive electric guitar work. The violent, slamming 'Through The Years' encapsulates a trip-hop flavour and Kylie delivering a frustrated, tortuous performance which proves highly effective, while a breezy highlight has to be the frothy 'I Don't Need Anyone', which, in spite, of its sombre, depressed lyrics, is quite jolly in spirit.

The angst-ridden 'Jump', is beautifully dramatic while the ethereal 'Breathe', (another single) is excellent and one of the most commercially-slanted of the album. 'Drunk' is another doom-ridden song, the lyrics quite contradictory, while 'Limbo' packs a wallop and serves as another highlight, Kylie's despairing cutting through the track. The electric fiddle adds to the mayhem in the immensely catchy 'Cowboy Style' and the climatic track 'Dreams' feature lots of eerie-sounding strings, booming bass, crashing drums which create a swirling cinematic fairytale and Kylie at her most outspoken. This is not your ordinary Kylie!

Excellence all the way and wouldn't mind seeing Kylie do another album like this. Now it's nearly twenty years old, 'Impossible Princess' has aged remarkably well, probably more than any other album that she recorded in the 1990s. It was interesting side-step in her career and such a shame that it was savaged by critics at the time, but it's certainly grown in reputation. The poor sales of this album led Kylie being dropped from the Deconstruction label, but it was all a blessing in disguise as when she returned to her previous incarnation of catchy dance-pop, she'd enjoy the biggest period of her career. This album, though, does not deserve to be dismissed by any means.

Ian Phillips