Kylie 2000

[Jarrell Campbell]

LightYears is the seventh studio album by Australian singer Kylie Minogue. Mushroom Records released it on 22 September 2000 in Australia; Parlophone released it on 25 September 2000 in the United Kingdom. Following the commercial failure of Impossible Princess (1997), Minogue left Deconstruction Records and took a hiatus from recording music. She signed with Parlophone in June 1999 and decided to return to her pop roots. She worked with various writers and producers, including Steve Anderson, Johnny Douglas, Robbie Williams, Guy Chambers, and Mark Picchiotti.

Light Years is a dance-pop, disco, and Europop album that refers to music from the 1970s. Lyrically, the album touches upon themes of women's empowerment, celebration, and sex, in a cheeky and campy approach. Music critics provided positive reviews, complimenting Minogue's return to pop despite them being ambivalent towards the lyrical content. Retrospectively, Light Years has been recognised as one of Minogue's strongest releases. The album won the ARIA Award for Best Female Artist and Best Pop Release at the 2001 ceremonies. Light Years peaked in the top position on the Australian Albums Chart, Minogue's first number-one album in her native Australia. It reached the top 10 in Russia, Scotland, New Zealand, and on the UK Albums Chart.

Five singles were released from Light Years, including "Spinning Around" and "On a Night Like This", which both reached number one in Australia, as well as the top 20 entries "Kids" and "Please Stay". All peaked inside the top 10 in the UK. The final single, "Your Disco Needs You" was only released in Australia and Germany. Light Years was further promoted with the On a Night Like This Tour, which visited Europe and Australia from March to May 2001. At the time, it was the highest grossing tour by a solo artist in Australia, with ticket sales of approximately US$5 million. The album was re-issued in Europe in 2018 and returned to the UK Albums Chart and the Scottish Albums Chart.

Following the split, Minogue took a break from recording music to focus on her acting career.[5] She spent several months in Barbados performing Miranda in Toby Gough's production of The Tempest during an annual operatic festival.[6] She also starred in the Australian films Cut and Sample People, both released in 2000.[7] She gave several live performances in Australia, including the 1998 Sydney Gay and Lesbian Mardi Gras, the opening ceremonies of Melbourne's Crown Casino and Sydney's Fox Studios in 1999.[8] Minogue performed Duran Duran's 1984 single "The Reflex" on the tribute complication Undone: The Songs of Duran Duran (1999),[9] and collaborated with the Pet Shop Boys on a duet, titled "In Denial", on their 1999 studio album Nightlife.[10]

In an early meeting with Parlophone to discuss which direction Minogue intended to pursue, the singer decided to return to her pop roots, saying "I should do what I do best... [Pop music] is the kind of music that people want from me."[14] Minogue believed the album was a new beginning, as she started singing pop music again.[15] Minogue was inspired by the music of the 1970s, which she discovered when she was a child via her parents' record collection, including the soundtrack from Grease (1978), Donna Summer's "Bad Girls" and "Dim All the Lights" (both in 1979).[16] The label did not want to make another Pete Waterman Limited (PWL) record, but quality pop music with the help of great contributions and collaborations.[17] Her team approached PWL owner Pete Waterman, who had worked with Minogue earlier in her career, during the production. However, the collaboration did not happen.[18]

Minogue enjoyed making Light Years; she got a chance to work with people who were certain how they wanted her to sound.[19] She felt that working with different producers would help the album have a diverse feeling.[20] She wanted the album to be song-driven and explained the musical styles to the producers with three keywords: "poolside", "disco", and "cocktails".[21] Minogue worked on Light Years in Sydney, London, and Los Angeles, where she put the final touches on the album.[22] Before signing with Parlophone, Minogue spent a week with her frequent collaborator Steve Anderson at Real World Studios in Box, Wiltshire, where most of the production of Impossible Princess was done.[23] Three tracks were chosen from the session: "So Now Goodbye", "Butterfly", and "Bittersweet Goodbye".[24] Minogue picked "Bittersweet Goodbye" when she was deep in the production process, saying it made her feel calm.[25] A string arrangement by Wil Malone was added to the track, while Anderson kept Minogue's vocals from the original demo.[26] Chicago-based DJ Mark Picchiotti flew to Los Angeles to record Minogue's vocals for "Butterfly", and then produced the track in his hometown.[27]

Former Take That member Robbie Williams contributed three songs with his songwriting partner Guy Chambers: "Loveboat", "Your Disco Needs You", and "Kids". Minogue shared the songwriting credit on the first two.[28] She found in Williams her ideal male counterpart based on their similar musical output; she felt the work between Williams and Chamber was extraordinary.[29] Chamber co-wrote another track with Minogue titled "I'm So High".[30] They were among the earliest collaborations, which Minogue felt were a good foundation for the album.[31] Minogue wrote the lyrics to "Light Years" with Biffco's songwriters Richard Stannard and Julian Gallagher in 10 minutes. The demo, originally titled "Light Relief", was unexpectedly favoured by the label and was picked up for the final tracklist.[32] The songwriters also collaborated on "Please Stay".[33]

Music critics have characterised Light Years as a dance-pop, disco, and Europop album.[40] The album marked a return to her signature pop style, following the experimental record Impossible Princess.[41] A reviewer from Sputnikmusic and Nick Levine of Digital Spy emphasise elements of disco, the 1970s and early 2000s music.[42] AllMusic's Chris True noted the album reflects the late 1990s teen pop movement.[43] Yahoo! Music's Gary Crossing referred to the album as a "largely undemanding collection of disco, Hi-NRG, Ibizan trance, funk, 60s film and TV themes and Latin-flavoured tunes".[44] Elements of house, electronica, psychedelic pop, Eurodisco, and French Touch were highlighted by Nick Smith of musicOMH and Ian Gormely of Exclaim!.[45] Described the album as being filled with "crisp rhythm sections, melodic orchestral passages and vivid grooves", Albumism's Quentin Harrison also noted influences from 1970s artists Cheryl Lynn, Tina Charles, and The Hues Corporation.[46]

Backing vocals and the arrangement of strings and fluttering flutes drive the fifth track, "Loveboat".[53] The song features funky light guitar and faux-French effects.[54] "Loveboat" was compared to the work of Barry Manilow, Minogue's "I Don't Need Anyone" (1997), and Williams's "Millennium" (1998).[55] "Koocachoo" has elements of jazz and the 1960s music, and built around a chirping synth and horn arrangement.[56] The track contains a groovy bass riff, retro guitar tone, sitar, keyboard sound effects, and "ba baba ba" harmonies in the chorus.[57] English bassist Paul Turner contributed bass and guitars to the track.[33] "Your Disco Needs You" is a disco track that is heavily influenced by Village People's "Go West" (1979).[58] Minogue sings in a serious tone, accompanied by a brass section, regal horns, a male chorus, and high soprano back-up vocals.[59] Cameron Adams from the Herald Sun felt that the song is a hybrid between Village People's "Y.M.C.A." (1978) and Queen's "Bohemian Rhapsody" (1975), while Chris Charles of the BBC News described it as "ABBA and the Pet Shop Boys getting down at the hottest gay club in town".[60]

The samba-infused "Password" was used as a pregap hidden introductory track.[61] "Please Stay" features Latin pop, soft acoustic, and flamenco elements.[62] Crossing found "Bittersweet Goodbye", the album's only sentimental ballad, to be a "strange concoction" of Olivia Newton-John, Kate Bush and Cocteau Twins.[63] It is followed by Minogue's cover of "Under the Influence of Love" (1967), in which her vocals are double-tracked for the bridge.[64] Smith referred to the track as "Saint Etienne meets the best of the Nolans".[65] The guitar-driven pop track "I'm So High" contains a subtle and slowly building melody.[66] Dwyer wrote songs like "I'm So High" help Minogue "leave the club floor for car radio with equally enjoyable results".[67] The penultimate track is "Kids", a joyous pop duet with Williams.[68] It has funky groove rhythms and a distorted, guitar-driven euphoric chorus with soft guitars, synths, and vocal crescendos.[69] English musicians Chris Sharrock and Neil Taylor played percussion and guitars on "Kids", respectively.[33] The Village Voice's Emma Pearse felt that the song helps Minogue transport her energy "into Prince and Beck territory".[70] The post-disco title track is an homage to Summer's "I Feel Love" (1977), featuring harmonies and electronic touches.[71] The track reminds Clarke of Brotherhood of Man's "Angelo" (1977).[48]

Minogue called Light Years an uplifting and vibrant record, with mostly happy songs that reflect her easy nature when she was making the album. She said listening to it felt like being on a summer holiday.[72] Lyrically, Minogue said that she was "really going for it... [without] holding back", with several songs containing cheekiness, showgirl images, or camp elements.[73] The songs were written from her imagination, rather than the autobiographical style of songwriting that she had experimented with on her previous record Impossible Princess.[74] Minogue recalled writing each song as if it was a scene from a film or a video and trying to interpret and convert the idea into a song.[75] Harrison highlighted Minogue's ability to focus on themes of flirtation, fun, and romance "without undercutting her previous growth as an artist" on Impossible Princess.[46]

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