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Golden ● 14th Studio Album ● Part I

Regina
in Kylie and Dannii Minogue

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I'm assuming some tech peson did this, but a version of the album without all the gold

 

http://i66.tinypic.com/33nhi8m.png

Apparently there's a standard edition, a deluxe, a vinyl, a clear vinyl, picture vinyl, super deluxe vinyl+CD+book and a cassette! :lol: Get them multiple stan buys.

Just to expand on this, here's all the editions and formats you can pre-order: https://kylie.tmstor.es/

 

Also, merchandise here.

She looks... like someone who is immensely high on the album cover.

 

I concur.

 

6th April is an awfully long-wait, what if the album would have leaked by then? She better releases Raining Glitter (if it truly lives up to its hype) before the album release.

Maybe if she gets enough to prevent orders she will release earlier. It's a good ploy she can release on a quiet week and get a high position
the Lauren Aquilina song never made the album. BOOOOOO
I can't decide which bundle to go with! :lol: I wish the CD/Vinyl Photo Book was available separately, same for the Dancing 7".

Amazon UK Chart

#8 Deluxe

#23 Super Deluxe

#34 Vinyl

#112 Standard

 

Amazon UK Pre-Order Chart

#1 Deluxe

#2 Super Deluxe

#4 Vinyl

#15 Standard

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Much better

 

golden_cover_003.jpg

 

Is this fanmade? Either way I might ise this one.

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01. Dancing (02:58)

Written by Kylie Minogue, Amy Wadge and Sky Adams

Produced by Sky Adams

 

02. Stop Me from Falling (03:01)

Written by Kylie Minogue, Sky Adams, Steve McEwan and Danny Shah

Produced by Sky Adams

 

03. Golden (03:07)

Written by Kylie Minogue, Lindsay Rimes, Liz Rose and Steve McEwan

Produced by Lindsay Rimes

 

04. A Lifetime to Repair (03:19)

Written by Kylie Minogue, Sky Adams and Danny Shah

Produced by Sky Adams

 

05. Sincerely Yours (03:28)

Written by Kylie Minogue, Jesse Frasure and Amy Wadge

Produced by Jesse Frasure

 

06. One Last Kiss (03:41)

Written by Kylie Minogue, Ash Howes and Richard Stannard

Produced by Ash Howes and Richard Stannard

 

07. Live a Little (03:37)

Written by Kylie Minogue, Sky Adams and Danny Shah

Produced by Sky Adams

 

08. Shelby '68' (03:35)

Written by Kylie Minogue, Ash Howes and Richard Stannard

Produced by Ash Howes and Richard Stannard

 

09. Radio On (03:42)

Kylie Minogue, Amy Wadge and Jon Green

Produced by Jon Green

 

10. Love (02:52)

Written by Kylie Minogue, Cutfather, Daniel Davidsen, Peter Wallevik, Wayne Hector and Autumn Rowe

Produced by Sky Adams

 

11. Raining Glitter (03:33)

Written by Kylie Minogue, Alex Smith, Mark Taylor and Eg White

Produced by Kylie Minogue, Alex Smith, Mark Taylor and Eg White

 

12. Music’s Too Sad Without You (04:09)

Written by Kylie Minogue, Jack Savoretti and Samuel Dixon

Produced by Samuel Dixon

 

13. Lost Without You (04:04)

Written by Kylie Minogue

Produced by Jon Green

 

14. Every Little Part of Me (02:58)

Written by Kylie Minogue

Produced by Sky Adams

 

15. Rollin' (03:32)

Written by Kylie Minogue

Produced by Sky Adams

 

16. Low Blow (02:56)

Written by Kylie Minogue

Produced by Sky Adams

 

I think the deluxe one smight be a bit wrong as Sky mentioned he co wrote them. Either way, nice to see her so involve din this album. Even on the production side.

Sense this will be like Hilary Duff's last album where it's kinda split between country-ish songs and more traditional pop based on these credits.

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""Now that I've been to Nashville,” Kylie Minogue says with audible affection, “I understand. It's like some sort of musical ley-line...”

 

Golden, Kylie's fourteenth studio album, is the result of an intensive working trip to the home of Country music, a city whose influence lingered on long after the pop legend and her team returned to London to finish the record: “We definitely brought a bit of Nashville back with us,” she states.

 

The album is a vibrant hybrid, blending Kylie's familiar pop-dance sound with an unmistakeable Tennessee twang. It was Jamie Nelson, Kylie's long-serving A&R man, who first came up with the concept of incorporating “a Country element” into Kylie's tried-and-trusted style. That idea sat there for a little while, with Minogue and her team initially unsure about how to bring it to life. Then, when Grammy-winning songwriter Amy Wadge's publisher suggested Kylie should come over to collaborate in Nashville, a city Kylie had previously never visited, something clicked. “You know when you're so excited about something,” she recalls, “that you repeat it an octave higher and double the decibels? I was like that. 'Nashville?! Yes! Of course I would!'. I hoped it would help the album to reveal itself. I thought 'If I don't get it in Nashville, I'm not going to get it anywhere.""

 

Kylie's Nashville trip involved working alongside two key writers, both with homes in the city. One was British-born songwriter Steve McEwan (whose credits include huge Country hits for Keith Urban, Kenny Chesney and Carrie Underwood), and the other was the aforementioned Amy Wadge, another Brit (best known for her mega-selling work with Ed Sheeran). It was then a truly international project: Golden was mainly created with African-German producer Sky Adams and a list of contributors including Jesse Frasure, Eg White, Jon Green, Biff Stannard, Samuel Dixon, Danny Shah and Lindsay Rimes, and there's a duet with English singer Jack Savoretti.

 

However, the album's agenda-setting lead single Dancing was, significantly, first demoed with Nathan Chapman, the man who guided Taylor Swift's transition from Country starlet to Pop megastar. If anyone knows how to mix those two genres, Chapman does. “Nathan was the only actual Nashvillean I worked with. He's got a huge studio in his house, which is probably due to his success with Taylor... there’s plenty of platinum discs of her, and others on his walls.”

 

There's something of the spirit of Peggy Lee's Is That All There Is?, of Dylan Thomas' Do Not Go Gentle Into That Good Night, even of Liza Minnelli's Cabaret about Dancing, a song which not only opens the album but sets out its stall, providing a microcosm of what is to come. “You've got the lyrical edge, that Country feel, mixed with some sampling of the voice and electronic elements, so it does what it says on the label. And I love that it's called 'Dancing', it's immediately accessible and seemingly so obvious, but there’s depth within the song.”

 

The experience of simply being in Nashville was an overwhelming one, before Kylie had even arrived. “Once I knew I was going to Nashville, people talked about the place with such enthusiasm. They said without doubt I would love it and, I would come back with songs. They were sending lists of restaurants, coffee shops and bars. It really was a beautiful and genuine response and it felt like I was about to have a life changing experience and in a way, I did.”

 

It's probably no coincidence, therefore, that every track on Golden is a Kylie co-write, making it arguably her most personal album to date. “The end of 2016 was not a good time for me,” she says, referring to well-documented personal upheavals, “so when I started working on the album in 2017, it was, in many ways, a great escape. Making this album was a kind of saviour. I’d been through some turmoil and was quite fragile when I started work on it, but being able to express myself in the studio made quick work of regaining my sense of self. Writing about various aspects of my life, the highs and lows, with a real sense of knowing and of truth. And irony. And joy!”

 

The songwriting process allowed Kylie to get a few things out of her system. “Initially, she admits, “it was cathartic, but it also wasn't very good. I think I was writing too literally. But I reached a point where I was writing about the bigger-picture, and that was a breakthrough. It made way for songs like Stop Me From Falling and One Last Kiss. It also meant I had enough distance to write an autobiographical song, like A Lifetime To Repair, with a certain amount of humour. The countdown in that song: 'Six-five-four-three, too many times...'. I don't know if that will be a single, but I can just imagine a girl with framed pictures of past boyfriends, and kind of going 'Oh god, when am I going to get this right?'”

 

When she listens back to Golden, Kylie can vividly hear the Nashville in it. It is, she'll agree, probably the first time that a Kylie album has sounded like the place it was made. “You wouldn't normally relate my songs to the cities. Can't Get You Out Of My Head sounds more like Outer Space than London. But Shelby ’68, for example, was written in London but it was done with Nashville in mind. It's about my Dad's car, and my brother recorded Dad driving it! I don't think I'd have written a number of the songs, including Shelby ’68 and Radio On without having had that Nashville experience.”

 

The latter, she says, is “about music being the one to save you.” Throwing herself into the making of the record, she says, crystallised that idea. “If there's one love that will always be there for you, it's music. Well, it is for me, anyway.” That song, in particular, carries nostalgic echoes of the golden age of Country, as heard through Medium Wave transistors and tinny home stereos in the distant past. Like any child of the Seventies, Kylie had a basic grounding in Country music, mainly absorbed from older family members. “My Step-Grandfather was born in Kentucky and though he lived most of his adult life in Australia, he never stopped listening to his beloved Country artists.” If there's any classic Country singer whose imprint can be heard on Golden, it's Dolly Parton.

 

Kylie saw Dolly live for the first time at the end of 2016, at the Hollywood Bowl. “It was like seeing the light,” she beams. “It was incredible. Everyone, whether they know it or not, is a Dolly Parton fan. When I was in Nashville, I did pick up a T-shirt that said 'What Would Dolly Do?' Maybe that should be my mantra.” And, whether consciously or otherwise, there's a timbre and trill to Kylie's vocals on Radio On that is distinctly Parton-esque. “My delivery is quite different on this album,” she says. “A lot of things are 'sung' less. The first time I did that was with Where The Wild Roses Grow. On the day I met Nick Cave, when I recorded my vocals, he said 'Just sing it less. Talk it through, tell the story.' This album wasn't quite to that extreme, but a lot of the songs were done in fewer takes, to just capture the moment and keep imperfections that add to the song. I remember on my last album, a lot of producers were trying to take out literally every vibrato they heard. And that's not natural to my voice. I mean, I can make myself sound like a robot, but it's nice to sound like a human!”

 

Working within the Country genre also gave Kylie permission to write in the Nashville vernacular. “Because we were going there, I wasn't afraid to have lines like ‘When he’s fallen off the wagon we’d still dance to our favourite slow song', ‘Ten sheets to the wind, I was all confused’, ‘I’ll take the ride if it’s your rodeo’. The challenge of bringing a Country element to the album made the process feel very fresh to me, kind of like starting over. I started to look at writing a different way, singing a different way.”

 

Kylie Minogue will, it's scarcely believable, turn 50 this year. This looming milestone is partly behind the album's title, and title track. “I had this line that I wanted to use: 'We're not young, we're not old, we're golden' because I'm asked so often about being my age in this industry. This year, I'll be 50. And I get it, I get the interest, but I don't know how to answer it. And that line, for my personal satisfaction, says it as succinctly as possible. We can’t be anyone else, we can’t be younger or older than we are, we can only be ourselves. We're golden. And the album title, Golden, reflects all of this. I liked the idea of everyone being golden, shining in their own way. The sun shines in daylight, the moon shines in darkness. Wherever we are in life, we are still golden.”

 

One of the album's shiniest moments is Raining Glitter, an exuberant banger which ventures closest to Kylie's traditional dance-pop comfort zone. “Eg White, who is one of the producers and writers and a great character, was talking about disco one day. I said 'I love disco, but you know the brief.' We needed to be going down the Country lane, so to speak. But we managed to bring them both together. When I wrote it, I was thinking about the Jacksons video for Can You Feel It where they're sprinkling glitter over everyone. And I think there's a Donna Summer record that's got that feel to it. I think that's my job: I basically leave a trail of glitter after every show I do anyway.”

 

Kylie is looking forward to the challenge of incorporating the Golden material into her live shows. “Mixing these songs in with my existing catalogue is going to be fun. And it could be fun to do some of those songs with just a guitar. It'll make my acoustic set interesting...”

 

Her incredibly loyal fans – to whom one Golden song, Sincerely Yours, is intended as “a love letter” – will, she believes, have no problem with her latest stylistic shift. “My audience have been with me on the journey, so I shouldn't be afraid that they won't come with me on this part. I've had fun with it, and I'm sure they will too.”

 

The time spent making Golden has, Kylie says, been a time of creative and personal renewal. “I've met some amazing people, truly inspiring writers and musicians. My passion for music has never gone away, but it's got bigger and stronger.” And if there's an overriding theme to the record, it is one of acceptance. “We’re all human and it’s OK to make mistakes, get it wrong, to want to run, to want to belong, to love, to dream. To be ourselves.”

 

“I was able to both lose and find myself whilst making this album.”

 

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This has me so excited. I am glad she is aware of how annoing her voice got to be in some KMO tracks and how she is working on that. Raining Glitter sounds GAY and I am ready for it.

Fantastic insight to the album there. Really got me excited for it and it feels like this is the most excited Kylie has been about a full record in a long time too.

 

Actually buzzing to hear 'Raining Glitter' now! Release it as an instant grat, Kylie!!

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