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Archive of Top-50 Song Reviews
for songs where the Artist's name begins with "K"

This archive contains the song reviews that appear in our weekly Top-50 Song Charts (which we started in 1999). Reviews are written by LarryG exclusively for You can also browse the song archives by song title.

[<<]  # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z  [>>]

K-Ci & Jojo - Crazy    Weeks on Chart: 15  Peak: # 20 (April 2001)   buy it!
Recently, smooth African American love men have been seriously outnumbered at top of the pop charts by R&B divas and white teen pop singers. K-Ci & Jojo Hailey, brothers who were formerly members of Jodeci, return to the charts with a soul ballad from their X CD. They're one of three groups that entered the top 50 within a week in January with a very mellow song about a guy who's nothing without his woman and is willing to do anything for her. K-Ci & Jojo seem like better singers than 98 Degrees and BBMak but their delivery is ridiculously overemotive. The pathetic lyrics apologize for being a fool, beg for her to come back and repeat how obsessed he is with her. Crazy has easy listening backing with a restrained beat and tasteful piano though the chorus tries to spice things up by distorting the voices with a silly vocoder effect. Crazy is also on the Save The Last Dance soundtrack. It's had incessant play on MTV which, not coincidentally, produced Save The Last Dance.

Kandi - Don't Think I'm Not    Weeks on Chart: 7  Peak: # 40 (Dec. 2000)   buy it!
Kandi Burruss has written hit songs for other people like TLC's No Scrubs, Destiny's Child's Bills, Bills, Bills and Pink's There You Go but she apparently didn't keep her best songs for her Hey Kandi CD. Don't Think I'm Not is a little weird musically. It starts with austere piano, becomes a lush ballad with very heavy strings, then the strings are awkwardly thrown together on the chorus with hard, synthetic beats. The lyrics are kind of weird too. Kandi brags that while her guy has been playing around with someone else, she has too. I understand her relief at not being a total sucker and getting some revenge but it doesn't sound like a situation to be happy about.

Kanye West featuring Syleena Johnson - All Falls Down    Weeks on Chart: 3  Peak: # 47 (June 2004)   buy it!
In the last year, with his The College Dropout CD and production of other artists, Kanye West has established himself as one of the most important and appealing figures in pop music. All Falls Down is College Dropout's third hit. Through The Wire and Slow Jamz very effectively used classic r&b samples. All Falls Down is a slight variation on that technique. It gets its hook from Mystery Of Iniquity, a song from Lauryn Hill's Unplugged CD. Instead of sampling Hill's vocal, West has Syleena Johnson singing a piece of Hill's lyric. The liberally used sample has a very pleasing sound. Having a good, steady beat and a strong hook as an anchor frees West to do a relaxed, comfortable rap. West doesn't seem like the most skilled rapper. But All Falls Down, like Through The Wire, shows West to be a natural, likable presence. The first verse is about a young woman who stays in college though "she has no idea what she's doing" there. The character ends up with a daughter, making money doing people's hair, a "single black female addicted to retail." The other two verses are searching meditations on a "self conscious" African American culture obsessed with possession. He depicts a foolish quest for showy, expensive belongings but largely attribrutes it to feeling hated and stereotyped by a racist white society and the desire to want to own a piece of our country.

Kelis - Milkshake    Weeks on Chart: 7  Peak: # 22 (Feb. 2004)   buy it!
Kelis got some attention with Caught Out There, a striking, impossible to ignore song featuring Kelis screaming "I hate you so much right now." Kelis couldn't even get her second record released in the U.S. but her third CD, Tasty, has yielded her first big pop hit. With its attention grabbing spare sound, eastern rhythms and sassy sexual imagery, Milkshake qualifies as a novelty hit song but Milkshake is a good, interesting song. With so many guys rapping about their docile sexual conquests, it's good to hear a song with a woman who's sensual but confident and very much in control, even if the song was written and produced by The Neptunes(Chad Hugo and Pharrell Williams), who have done hits for everyone including Britney, Justin, Usher, Nelly and Snoop Dogg. With her eccentric look and loopy but smart and confident musical persona, Kelis is a bit like Macy Gray but she comes off as slightly less gangly and odd. Without specifying what her milkshake is there's no doubt that, while it "brings all the boys to the yard", she decides who gets a taste. On Milkshake, Kelis teases another woman and offers to teach her "techniques that freak these boys." Milkshake draws you in with its exotic bongos and bells. It nicely alternates Kelis' unpolished, distinctive voice with a smoother female vocal. The distinctive, unusual things about Milkshake could make it annoying after repeat listens but it's good to hear a strong woman and a different sound amid similar sounding, male dominated music.

Kelly Clarkson - A Moment Like This    Weeks on Chart: 8  Peak: # 23 (Nov. 2002)   buy it!
After Kelly Clarkson won American Idol, A Moment Like This was rushed out as a single, long before an album was ready, and it's one of the biggest selling singles in recent years. I didn't see much of American Idol. It seemed irrelevant to me and millions others. From what I can tell, there were few signs that rock or hip hop exist. Balladeers competed to show over the top intensity. It's not surprising that Clarkson won. I'd figure the person who would appeal to most average Americans would sing competently, sound very familiar and not be too challenging or unusual. Clarkson has been compared to Mariah Carey. The comparison seems accurate. She doesn't seem as skilled or distinctive as Carey but Clarkson has Carey's confidence as well as her tendency to slightly overdo things. Comfortable familiarity seems like the main goal of American Idol, Clarkson and especially the writers of A Moment Like This, which blatantly borrows pieces of Whitney Houston's ballads. A Moment Like This' resemblance to I Will Always You, The Greatest Love Of All(which it namedrops) and others practically makes it a medley of Whitney's hits. Especially in the big finish final verse, every move seems copped from I Will Always Love You though you can also credit Elton's Circle Of Life and Bette Midler's big hits. A Moment Like This, written and produced by studio pros who have worked with a bunch of lightweight British pop stars as well as Britney and O Town, has a by the book arrangement. The music starts quietly and gains in intensity, with a cushion of backup singers and strings. There will probably always be a market for uplifting, manipulative songs likely to end with the singer's arms raised triumphantly over her head. A Moment Like This is properly constructed to tug at the heartstrings but it doesn't have a transcendent vocal performance or anything unusual to distinguish it from other similar songs. A Moment Like This, with its "some people wait a lifetime for a moment like this" hook, was chosen because it seems to be commemorating Clarkson's victory. But the lyric is actually a clichi ridden love song about a perfect love.

Kelly Clarkson - Low    Weeks on Chart: 5  Peak: # 41 (Oct. 2003)   buy it!
While her record sales have been eclipsed by those of American Idol 2 runnerup Clay Aiken, Kelly Clarkson has made the transition from American Idol winner to mainstream pop radio star. A Moment Like This, Clarkson's first hit, was the kind of overblown ballad that gave American Idol a bad name but the singles from Clarkson's Thankful CD have been glossy and generic but tolerable studio constructions. Low was written by Jimmy Harry, whose main previous credits included work on records by Kylie Minogue and RuPaul, and produced by Clif Magness, who worked on most of the non-smash hits on Avril Lavigne's Let Go CD(both Harry and Magness also worked on Aiken's CD). Low is largely inoffensive but annoyingly overproduced. Magness throws in far too many sounds, with lots of different synth effects. The chorus is particular silly, reaching for crescendos with bombastic guitars, booming drums and layers of backing singers. Amidst the overstuffed arrangement, Clarkson doesn't get the chance to show much personality but she does reveal a decent voice. She does the obligatory, showy reaching for high notes but doesn't go as far over the top as the music leads her. Clarkson's singing is largely strong and appealing. Low is about dealing with things after being dumped by a guy who made a mess of things.

Kelly Clarkson - Miss Independent    Weeks on Chart: 20  Peak: # 13 (Aug. 2003)   buy it!
Miss Independent, the first single from the Thankful CD, is a good move for the American Idol '02 winner. Clarkson could probably get a few more hits sticking with the big, emotive ballads that are so popular with American Idol's audience. But Clarkson undoubtedly realizes if she wants a long career, she'll need to connect with the majority of Americans who aren't fans of the easy listening American Idol sound. So, like balladeers including Whitney and Celine, Clarkson is sure to alternate dance pop with her slow, dramatic songs. Miss Independent indicates that Clarkson has taken Christina Aguilera as a role model for her dance pop. Clarkson was pushed in that direction by producer Rhett Lawrence. Lawrence wrote Miss Independent with Aguilera. When it didn't make Aguilera's Stripped CD, Lawrence brought it to Clarkson who supposedly, with Lawrence, reworked it. Miss Independent still sounds just like a Christina Aguilera song(it's odd to hear it back to back with Aguilera's Fighter) and not a great one. Still, in my mind, anything is an improvement over big, showy, empty, generic ballads like Clarkson's first hit: A Moment Like This. Miss Independent is better than Fighter, simply because it doesn't overdo things. The backing is relatively restrained and functional. The verses get good edge from a steady riff with the sound of a tight electric guitar strum and a crisp angular beat. The chorus, with chords crunching in under Clarkson's singing, is very familiar but it is effectively dramatic, Clarkson's vocal doesn't show much distinctive personality but it stays strong, twisting around and not getting overwhelmed by the song's electronics. Miss Independent's lyric doesn't really match Clarkson sweet, regular gal image. It reads more like an attempt, like Beautiful, to redefine Aguilera's unlikable persona. Miss Independent is about a woman who, after working hard at projecting a harsh aura of self sufficiency, drops her defenses and falls hopelessly in love.

Kelly Rowland - Stole    Weeks on Chart: 8  Peak: # 29 (Dec. 2002)   buy it!
With Beyonce Knowles in Destiny's Child and Nelly on the hit Dilemma(which appears on Nellyville and Kelly Rowland's Simply Deep CD) Rowland has allowed her costar to get most of the attention. Rowland has the spotlight to herself on Simply Deep but continues her unassuming ways. On Stole, Rowland's vocal is decent and unshowy. Stole is smooth and well made though not particularly distinctive. Stole was written and produced by industry pros Steve Kipner(who worked on Olivia Newton John's Physical and Christina Aguilera's Genie In A Bottle and many other hits) and Sean Hosein and Dave Deviller(O-Town and 98 Degrees among others). Stole has an easy mood with good, subtle ringing and scratching effects and guitar matching the climactic line about "playing angry chords." Stole effectively layers Rowland's voice with good backup singing. Stole is the latest song to address school shootings. We find out the shooter was the brightest kid in school but he was bullied and put down and didn't fit in. Stole means well. It's not offensive(unless you're a grammarian troubled that she doesn't say stolen) but it's even less insightful than P.O.D.'s Youth Of The Nation because its invented mass killing doesn't feel real. Stole tells us that one victim "could have been a movie star" and another would have "had a try out with the Sixers", as if Columbine-type deaths are less tragic if their victims weren't destined for stardom.

Kenny Wayne Shephard - In 2 Deep    Weeks on Chart: 11  Peak: # 42 (Jan. 2000)   buy it!
Though still young, Shephard long ago showed he's a fast, gifted guitar player. In 2 Deep, from Shephard's Live On CD, shows that he hasn't learned what to do with his talent. He plays fast and flashy but to no interesting end. The music is energetic but it's basically a hackneyed mix of Allman Brothers and Bad Company. The lyrics are simply awful, filled with cliches about having nowhere to hide and being caught in a hurricane.

Kenny Wayne Shephard - Was    Weeks on Chart: 9  Peak: # 45 (April 2000)   buy it!
Shephard's talent as a player and love of his blues rock predecessors is always more apparent than his originality. Was, from Shephard's Live On CD, starts well in a gritty, spare blues setting. Was has a pretty authentic feel but it evolves into his usual showing off and overdone music. The lyrics, about being under a woman's spell, feel pieced together from other songs, with their repeated references to moonlit nights and madman's walks.

Kevin Lyttle - Turn Me On    Weeks on Chart: 2  Peak: # 34 (July 2004)   buy it!
Kevin Lyttle is a singer from St. Vincent who has scored an international hit from his self titled debut CD. Turn Me On's music fits in the genre of soca, a calypso-like island sound. Turn Me On was produced by Jeremy Harding, who has worked with Sean Paul and various reggae performers, and Adrian Bailey. Turn Me On is 2004's quintessential summer single. Its irresistable upbeat music moves quicky and easily with a brittle beat and an emphatic sample that's periodically enhanced by a bubbly swirl of synths. Lyttle's very high voice is odd but strangely buoyant. It sounds like a mix of Lyttle's hero Michael Jackson and a helium enhanced cartoon character. Turn Me On's remix benefits from the presence of dancehall rapper Spragga Benz whose tough interjections lend weight to a song with a vocal that sounds like it might float away. Turn Me On feels like an evening island party. It's not meaningful but it's fun especially if you don't take it too seriously. Turn Me On's lyric is suitably lightweight. Lyttle tries to convince a woman who's got him very excited(he puts it in more graphic terms) to come home with him and caress him.

Kid Rock and Sheryl Crow - Picture    Weeks on Chart: 19  Peak: # 21 (March 2003)   buy it!
Until Picture was released as a single, Kid Rocks Cocky CD wasnt selling and his career was in decline. Now, a year and a half after it was released, Cocky is another multiplatinum hit for Kid Rock. Ive never been a Kid Rock fan but Picture impresses me. Picture shows more smarts than I thought Kid Rock had. Picture, with its story of a guy cheating on the road while his woman cheats at home, has the feel of a country classic. Kid Rock uses the comfort of a traditional form but doesnt condescend. Pictures music gets an authentic feel from steel guitar but doesnt overdo the twang. The music stays nicely minimal with restrained drumming and organ and a good, simple guitar solo. Kid Rock isnt a great singer but hes decently controlled. As usual, vocal pro Sheryl Crow is solid. Shes a natural with a country ballad but she doesnt upstage Kid Rock. Picture is a big improvement over Kid Rocks previous hit ballad, the self pitying God Only Knows. Picture has a surprising sad sweetness. The adulterers regret their actions and both just want him to come back home.

Kid Rock - American Bad Ass    Weeks on Chart: 5  Peak: # 45 (June 2000)   buy it!
Kid Rock's new CD is called The History of Rock, assumedly an allusion to his belief, repeatedly voiced in American Bad Ass that he has brilliantly synthesized different types of music into his style. American Bad Ass does nicely mix hard rock guitar and drums with Kid Rock's yelled rap. However, Kid Rock's rapping is the weak link. Boasting is the norm in the genre but Kid Rock's bragging, saying he's the chosen one and comparing himself to Johnny Cash, Grandmaster Flash and The Clash hardly seems justified. He seems insecure, needing to tell us his last record sold seven million and constantly referring to his previous work, claiming "they call me cowboy." There are moments of decent humor like when he flaunts his 30 pack of Stroh's but Kid Rock's attempts to seem tough are generally lame. It seems more accurate when he says he "rocks with Liberace flash."

Kid Rock - Bawitdaba    Weeks on Chart: 2  Peak: # 20 (Aug. 1999)   buy it!
From the cd Devil Without a Cause, this is another combination of dance music and hard rock. The confidence of Kid Rock and the power of the music are clear. But it's got a lot of attitude and it seems like obnoxiousness and smugness to me.

Kid Rock - Cowboy    Weeks on Chart: 16  Peak: # 10 (Nov. 1999)   buy it!
I don't know if it's meant as a joke but Cowboy sure is goofy. There's a lot going on here. Some of Cowboy is self deprecating: "they're straight out of Compton, I'm straight out of the trailer." Some is dopey boasting. The lyrics about going out west and setting up an escort service, are weird as is the middle with cheesy western effects and the glossy soul chorus. While it's got a rock guitar, Cowboy is more of a straight rap song than Bawitdaba and might turn off some of the head bangers.

Kid Rock - Forever    Weeks on Chart: 8  Peak: # 28 (Nov. 2001)   buy it!
His new CD is called Cocky but Kid Rock seems defensive on Forever. Perhaps knowing that his rhymes are pretty stupid, Kid Rock anticipated criticism, warning "do not hate or question the music I make." He brags "I ain't changed nothing" but that's part of the problem with Forever. It's a retread of his previous work with little new inspiration. He's bragged before about his skills at mixing rock and hip hop and how he's "got money like Fort Knox." Still, while Kid Rock will never recapture his Devil Without A Cause/Bawitdaba success, there will always be some attracted to a proudly white trashy guy who confidently does old school rhymes. And there is a simple appeal to Forever's basic beat and grinding guitar line.

Kid Rock - Only God Knows Why    Weeks on Chart: 24  Peak: # 4 (April 2000)   buy it!
While he usually comes across as a smart ass narcissist, on Only God Knows Why from his Devil Without a Cause CD, Kid Rock wants sympathy for his pain and the fact that people don't understand him. I would have thought Kid Rock would be embarrassed to sing a ballad about trying to find himself but I guess we already know he's shameless. The model for Only God Knows Why seems to be one of Pearl Jam's soaring, personal ballads but Kid Rock doesn't have Eddie Vedder's chops. He sounds best when his voice is distorted.

Kimberly Locke - 8th World Wonder    Weeks on Chart: 6  Peak: # 43 (May 2004)   buy it!
Kimberly Locke is the third American Idol contestant to make the top 50. Locke was eliminated when Clay Aiken and eventual winner Ruben Studdard made the finals but she has defeated Studdard on the charts. 8th World Wonder is a bigger pop hit than Studdard has had so far. Nothing about 8th World Wonder, from Locke's debut One Love CD, changes my opinion that American Idol is making pop music blander. Most of American Idol's successes have been competent but innocuous, appealing to the most middle American viewers by being inoffensive and familiar. Unlike Kelly Clarkson, who has tried to add a bit of edge to the squeaky clean American Idol prototype, Locke sticks with the show's safe sound on 8th World Wonder. 8th World Wonder reminds me of one of Shania Twain's lite pop hits though, to her credit, even at her most cloying and manipulative, Twain is never this boring. Locke's singing is very colorless. It's remarkable that Locke, an African-American, conveys even less soul than Clay Aiken, perhaps the whitest guy in the world. 8th World Wonder was produced and cowritten by Shaun Shankel, whose credits include work with easy listening favorites Michael Bolton and Amy Grant. There's nothing distinctive or interesting about 8th World Wonder's music. Shankel uses drum machines, synths and rock guitars but makes sure nothing gets too loud or challenging. Eight World Wonder's writers have Locke playing the swooning, adoring girlfriend. I know that a romance's early days can be intoxicating but 8th World Wonder really makes Locke seem like an idiot, raving about how amazing the guy she's known for seven days is. 8th World Wonder's lyric is overblown trying, with thunder and rising water, to achieve some sort of biblical force.

Korn - Did My Time    Weeks on Chart: 10  Peak: # 21 (Aug. 2003)   buy it!
Did My Time is in the movie Lara Croft Tomb Raider: The Cradle Of Life but it's not on the movie's soundtrack. It's supposed to be on Korn's next record, which is due by the end of the year. Apparently, 2002's Untouchables, Korn's last record, was a disappointing seller and not a fan favorite. So the band is back in the studio promising that the new record will be more rocking and "not so overproduced." I've admired some of Korn's work for the band's ability to make music that rocks and has interesting atmosphere. But I'm certainly not a fan. Their music often seems silly and overdramatic. If Did My Time is a sign of what's to come, it looks like they're getting stupider and goofier. Did My Time is the same old tale of self loathing that Korn and other theatrical hard rock bands have done for years. It sounds like self parody when Jonathan Davis sings "I feel the anger changing me." He also intones familiar lines like "realize I can never win", "feel like I have failed" and "my mind is laughing at me." Davis' singing, a combination of barking, roaring and whining, is awful. Davis does a good job of communicating his agitation but it's unpleasant listening. Did My Time's music and playing is competent but it's not original or interesting. Hard rock guitars and drums crunch under Davis' vocal and create a typical dark atmosphere.

Korn - Falling Away From Me    Weeks on Chart: 15  Peak: # 17 (Jan. 2000)   buy it!
With Nine Inch Nails' sales way down on their new CD, veteran gloom rockers Korn could be the new kings of intense, paranoid, gothic influenced rock. Falling Away From Me is humorless and not fun, but Jonathan Davis' pain sounds real as he sings of being so tormented by his painful life and the voices in his head that he's given up hope and is flirting with suicide. The music is powerful with good, hard guitars and genuinely spooky, atmospheric effects.

Korn - Freak On a Leash    Weeks on Chart: 1  Peak: # 41 (Aug. 1999)   buy it!
Korn is able to communicate the rage and confusion of their male teen audience. Freak On a Leash, from the cd Follow the Leader, relates alienation and the feeling of not belonging. The music might sound overblown to those outside Korn's target audience but the power of the music, the quality of the playing and the sincerity of the emotions are undeniable. Like Rage Against The Machine, they aren't the sound of the mainstream future but their effective mix of hard rock and dance music is the sound of things to come.

Korn - Here To Stay    Weeks on Chart: 17  Peak: # 10 (April 2002)   buy it!
In the past, Korn has done some interesting hard rock with an ominous electronic atmosphere. Here To Stay, from the Untouchables CD, feels like a cut and paste rehash of Korn's previous work and that of many similar bands that, with dense music and troubled singers, have proliferated over the last few years. Jonathan Davis' angry bark is very familiar. So are Here To Stay's rumbling guitars and sinister synths. On Here To Stay, Davis sings about a self loathing that makes him "take my face and bash it into a mirror" so "I won't have to see the pain." He also tells us his hurt is turning "into hating". There's enough nastiness to Davis' venting that I find it hard to sympathize about his inner turmoil.

Korn - Make Me Bad    Weeks on Chart: 16  Peak: # 16 (April 2000)   buy it!
Confused kids can relate as Jonathan Davis sings on Make Me Bad, like on Falling Away From Me, about his troubled mind. He sings of the lack of compassion he faces and feeling his reason leaving as he obsesses about the object of his desire. Make Me Bad, from the Issues CD, has the rush of a good hard rock song with big, tough guitars. It's harder and less distinctive than the atmospheric Falling Away From Me.

Korn - Right Now    Weeks on Chart: 6  Peak: # 36 (Dec. 2003)   buy it!
Some Korn fans thought that the band's last CD, Untouchables, was too commercial. Few will say that about Right Now, the first chart hit from Korn's new Take A Look In The Mirror CD. With its jackhammer guitars and Jonathan Davis' demented bark, Right Now presumably rocks hard enough to satisfy Korn purists. The music is tough and focused. But Davis' rant is ridiculous and off putting. Davis' harsh raging undoubtedly expresses the turmoil of a few male youths. But the rest of us don't need to hear someone repeatedly howling "shut up or I'll fuck you up." Davis isn't a kid. He's a bit foolish spitting out "I'm feeling mean today." Right Now is filled with nasty images about getting "across the hate when I see you", "debating who I'm gonna kick around" and wanting "to slash and feed you."

Korn - Somebody Someone    Weeks on Chart: 2  Peak: # 37 (Aug. 2000)   buy it!
The third single from the Issues CD is another barrage of guitar noise. Somebody Someone packs some excitement but it's mostly just harsh without the sonic distinctiveness of Falling Away From Me. Jonathan Davis sounds even more troubled than usual. He sings "seems it never ends" and his torment does have less effect as you hear about it in song after song. Davis cries out for help. All he needs "is to be loved just for me." He sings that he feels like a fool inside, that he's nothing, he's dying.

Korn - Thoughtless    Weeks on Chart: 15  Peak: # 15 (Sept. 2002)   buy it!
Thoughtless is the second chart hit from Korn's Untouchables CD. Untouchables has been called the record that introduces melody to Korn's sound. Thoughtless has a melody of sorts but it's hardly tuneful. The verses have hammering guitars. The chorus has a big rock anthem sound. Jonathan Davis' vocal takes on different tones that presumably match the different levels of anger he expresses on Thoughtless. Davis starts with a bit of falsetto playfulness mixed with his rage as he sings about pushing his mercy down, daring someone to take a swing at him so he can have a reason to put him on the ground. But he quickly shifts to a harsh bark: "why are you trying to make fun of me." Things get weird as Davis rants "got my monkey back against the wall." In between, Davis accuses others of "thoughtlessly scheming" to "tear me down" and sings about wanting to "kill and rape you the way you raped me." I'm somewhat fascinated by Thoughtless' surreal, over the top sound, especially Davis' venting of his enormous, barely controlled hostility. But Thoughtless' lack of nuance and endless barrage of noise and negativity make it unlistenably harsh for me.

Kylie Minogue - Can't Get You Out Of My Head    Weeks on Chart: 15  Peak: # 10 (March 2002)   buy it!
Kylie Minogue has been huge in England and Australia for more than a decade but her worldwide success Can't Get You Out Of My Head, from the Fever CD, is her first U.S. monster hit. Can't Get You Out Of My Head, with its la la las and mechanical beat, is obviously sterile, synthetic and dopey. Still, Can't Get You Out Of My Head, cowritten and produced by Cathy Dennis who once sang a dance pop hit called Touch Me(All Night Long), is well constucted and appealing. At times, it reminds of such disparate cold but compelling synth pop songs as New Order's Blue Monday and Cyndi Lauper's She Bop. The futuristic sound is less frantic than recent Eurodisco songs like Around The World and Blue. The music and Minogue's sultry vocal are confident, unhurried and cool. Unlike Madonna's Music, Can't Get You Out Of My Head doesn't try to be ironic and self mocking. It really is just about not being able to get a guy out of her head. The music is just about creating a good, inviting beat.

Kylie Minogue - Love At First Sight    Weeks on Chart: 8  Peak: # 34 (Sept. 2002)   buy it!
Kylie Minogue continues to proudly recreate Madonna's 80s sound. Love At First Sight, the second American hit from Minogue's Fever CD isn't as irresistable as Can't Get You Out Of My Head but it has the same intent: to be upbeat, very dancable and not particularly meaningful. With cheesy disco era synths, a steady beat and glossy, relentlessly cheery, electronically enhanced vocals, Love At First Sight largely does the job. Minogue and writer/producers Richard Stannard and Julian Gallagher want us to be reminded of dance pop classics. Good Times, Madonna's Holiday and, as the song fades out, Donna Summer's I Feel Love all come to mind. Love At First Sight is stupid, unoriginal, unmemorable and not particularly inspired but it is catchy and familiar enough to give Minogue another hit. On Love At First Sight, Minogue sings about how she was "thinking 'bout giving up" but then "everything went from wrong to right" when she met her baby.

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