8
however it is also a bit of a dark
horse in that it is the only high
tempo, fun and bubbly type of
song on the whole album but
even that has its advantages
becoming a bit of a three
minute respite. The fun does
not last long before a powerful,
violin based rendition of ‘Can’t
Get You Out Of My Head’ takes
over and greets you with one of
the best renditions of the song
to be produced. Creating a
version of a song that was a
huge hit in its original form is no
mean feat but Kylie seems to
never be phased by any
challenge that comes her way
and it’s this determination to
succeed and better previous
attempts that puts this version
on par with the original.
Now would be a good time to
mention the amazingly dark and
seductive ‘Where the Wild
Roses Grow’, and much to the
surprise of fans the song, which
is the only duet on the whole
album, features the re-recorded
vocals of Nick Cave who agreed
to join Kylie at Abbey Road
Studios. Backed with nothing
more than a gentle but dark and
mysterious reinterpretation of
the music used in the original
version it is clear that not only
does Kylie sound so crisp and
clear during the song, but so
does Nick, and his return is just
perfect for the album. Also
receiving similar treatment is
‘Confide in Me’. For the last 18
years the song has been
reinvented again and again and
it seems that regardless of
what’s done to it, it cannot be
ruined only improved. The
Abbey Road version once again
demonstrates this. One of the
most defining features of the
song is the eerily seductive
whisper of “Stick or twist the
choice is yours, hit or miss
what’s mine is yours”.
Coming to the end of the album
we meet an entirely different
take on the song ‘I Should Be So
Lucky’. The song is nothing like
it’s original and has become
more of a monologue with ones
self, becoming almost the cry of
a hopeless lover. A similar
sentiment is echoed in ‘Better
the Devil You Know’ which again
takes on a persona all of its own
hinting at how Kylie wishes she
can be shown the way and
ultimately be set free. The
penultimate song on the album,
‘Love at First Sight’, although
keeping its original happy-golucky persona, has also had a
new lease of life breathed into it
with it becoming much simpler
than its original counterpart.
This is mainly due to the
reduced tempo of the song and
the stripped back music
featuring an acoustic guitar
giving it an almost folk song
appeal which allows Kylie to
experiment with her voice
more. It’s clear already that the
consensus is that the album is
one of the most sympathetically
executed albums Kylie has
released this past decade and is
one of, if not the best release to
come out of K25. This is the kind
of album many artists
would dream of being able to
do and for each person each
individual song has a very
special and unique meaning to
them.
This album is a masterpiece and
there is nothing quite like being
able to sit back and bask in its
unadulterated bliss. With its
calming nature and pure vocals
‘The Abbey Road Sessions’ is an
album
packed
with
16
reinterpreted songs all worthy
of their places; it is clear that
this is an album that Kylie and
creative
director
Steve
Anderson have both enjoyed
producing, but have also been
wanting to produce for a very
long time.
The cherry on the
top of the cake that
is K25
K25 was the perfect time for
Kylie to experiment with
something new and different.
This is most certainly an album
to be proud of being by far one
of the best and most pure
albums of 2012. ‘Abbey Road
Sessions’ is the cherry on the
top of the cake that is K25 and
what better way to end the year
than by revisiting the hits that
helped make Kylie into the
international star she is today.
Thank you Kylie
Review by Kylie-Unlimited.com