![\"Kylie](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/10\/kylie-minogue-2001-billboard-1800.jpg\")
<\/p>\nA look at the 2001 electro-pop album that cemented the Aussie’s remarkable Y2K renaissance.\u00a0<\/p>\n
\t10\/1\/2026\t<\/p>\n
\t\t\t\t\t\t<\/p>\n
\t\t\t\t\tKylie Minogue performs at the Hammersmith Apollo on March 17, 2001 in London, England.<\/p>\n
\t\t\t\t\t\t\t\t\tNicky J. Sims\/Redferns<\/p>\n
\n\t\u201cI feel like I\u2019m on a wave and I actually know how to stand on the board at this point,\u201d Kylie Minogue<\/a>\u00a0told\u00a0<\/a>The Guardian<\/a>\u00a0shortly before dropping her eighth studio effort\u00a0Fever. \u201cI feel quite solid. I don\u2019t know where it\u2019s taking me, but everything feels really good.\u201d<\/p>\n \n\tIt\u2019s little wonder that Australia\u2019s greatest musical export was so confident. She\u2019d just staged one of pop\u2019s greatest ever comebacks with 2000\u2019s\u00a0Light Years, a return-to-form in which she also returned to her effervescent pop roots. And as foreshadowed by the number one success of its lead single \u201cCan\u2019t Get You Out of My Head,\u201d she was sitting on a goldmine of electronic bangers which proudly expanded the latter\u2019s dance floor reach.<\/p>\n \n\tBy the time the record\u2019s campaign drew to a close, Kylie had been firmly reaccepted as an international treasure. Not only did Fever shift<\/a> six million copies to become by far her biggest selling album ever, it also propelled her to the upper reaches of the Billboard 200<\/a> for the first time in her glittering career (remarkably her previous peak had been No. 53 for 1988\u2019s self-titled), won<\/a> Best International Album at the same BRITs ceremony during which she stole the show, and spawned a glorious run of singles arguably never bettered by the plethora of Big Pop Girls who followed in her wake. <\/p>\n \n\tAs the star gears up to celebrate the 25th anniversary of her magnum opus (Oct 1), here\u2019s a ranking of its twelve offerings from worst to best.<\/p>\n \t\u201cGive It to Me\u201d<\/p>\n \n\t\u201cGive It To Me\u201d was co-written by Mark Picchiotti, the Chicago producer\/remixer with no fewer<\/a>\u00a0than 24 Billboard Dance Club Songs chart-toppers to his name. Unfortunately, he appears to have had an off-day for his sole contribution to\u00a0Fever. Indeed, hitting harder than any other track, its disjointed mishmash of electro-funk and two-step garage sounds entirely out of place on an otherwise sleek and seductive affair, with the nagging sound of a ringing telephone suggesting Kylie hadn\u2019t yet mastered the mute button. Luckily, it\u2019s the only number you\u2019ll want to silence, too.<\/p>\n \n\tListen here<\/a>.<\/p>\n \t\u201cBurning Up\u201d<\/p>\n \n\tThe opening acoustic guitars of\u00a0Fever\u2019s closer briefly suggests that Kylie may be finishing her most electronic album with a throwback to her indie era. But she soon ditches them for another \u201clove in the club\u201d affair which also appears to acknowledge her fondness for bad boys (\u201cYou\u2019re not that honest\/ No you\u2019re not that nice\/ But if I kiss you once, I\u2019m gonna kiss you twice\u201d). While her commitment to the medical theme is impressive, the key change-heavy nu-disco of \u201cBurning Up\u201d doesn\u2019t quite get the temperature rising like the bangers that have come before.<\/p>\n \n\tListen here<\/a>.<\/p>\n \t\u201cYour Love\u201d<\/p>\n \n\tFresh from helping\u00a0<\/a>Dido<\/a>\u2019s\u00a0No Angel\u00a0to fly off the shelves, songwriter\/producer Pascal Gabriel lent his talents to this breezy Balearic-tinged number which could also be best described as pleasingly inoffensive. Indeed, it\u2019s hard to imagine any fan choosing \u201cYour Love\u201d as their all-time favorite or indeed their all-time stinker. You could argue its only distinctive feature is hearing a lovestruck Kylie playing it totally and unashamedly uncool (\u201cWant you to hear my confession\/ You\u2019re my obsession\/ Do what you will do, but I can\u2019t help the way I\u2019m wanting you\u201d).<\/p>\n \n\tListen here<\/a>.<\/p>\n \t\u201cDancefloor\u201d<\/p>\n \n\tThere are shades of both Sub Sub\u2019s one-hit wonder \u201cAin\u2019t No Love (Ain\u2019t No Use)\u201d and fellow Aussies\u00a0Madison Avenue<\/a>\u2019s smash \u201cDon\u2019t Call Me Baby\u201d in this poolside-friendly affair. The final of three co-writes from \u201990s pop star\u00a0<\/a>Cathy Dennis<\/a> finds Kylie taunting the man who\u2019s done her wrong by heading out onto the dancefloor and showing him what he\u2019ll be missing. (\u201cYou can dream of changing my mind\/ But you\u2019re wasting your time\/ \u2018Cause if you think you\u2019ve got me right just watch me\u201d). Proof that she can deliver a kiss-off as convincingly as the come-on.<\/p>\n \n\tListen here<\/a>.<\/p>\n \t\u201cFever\u201d<\/p>\n \n\tForget \u201cYour Disco Needs You.\u201d The campest moment of Kylie\u2019s career may well be the British TV special in which she roleplayed doctors and nurses, while performing\u00a0Fever\u2019s title track to a bunch of bewildered D-list celebs. The kitsch factor is still notably high, even without the sight of the\u00a0Big Brother 2\u00a0cast awkwardly bopping along as the Aussie purrs for medical attention like she\u2019s auditioning for a\u00a0Carry On\u00a0revival (\u201cThere ain\u2019t a surgeon like you any place in all the world\/ So now, shall I remove my clothes?\u201d). It\u2019s all totally absurd but somehow Kylie pulls it off.<\/p>\n \n\tListen here<\/a>.<\/p>\n \t\u201cLove Affair\u201d<\/p>\n \n\tUnsurprisingly once tabbed as a future single, \u201cLove Affair\u201d hurtles the album firmly into Ibiza territory. But with Kylie explicitly stating she doesn\u2019t want to think about the morning after, the vibes are more trance party than sunset chill. Indeed, bringing the energy levels back, this is one of Kylie\u2019s clubbiest moments outside the realm of the remix, its propulsive beats and shimmering synths a perfect fit for its \u2018live for the moment\u2019 sentiment (\u201cI am only here for a little while\/ Would you like to take me out tonight?\u201d).<\/p>\n \n\tListen here<\/a>.<\/p>\n \t\u201cFragile\u201d<\/p>\n \n\tA welcome breather after all the beats and bleeps of \u201cGive It to Me,\u201d \u201cFragile\u201d is the closest that\u00a0Fever\u00a0comes to a ballad. It\u2019s still very much danceable, of course, but the mood here is ethereal, dreamy and vulnerable, as Kylie sings of the anxieties that manifest themselves both physically and emotionally (\u201cShake and sweat, wipe my brow\/ Scared of what\u2019s to come)\u201d in the wake of a new relationship. Chillout master Chicane<\/a>\u00a0later\u00a0turned down<\/a>\u00a0remixing duties for both Kylie and her sister\u00a0<\/a>Dannii Minogue<\/a>, but this lush downtempo is possibly the next best thing.<\/p>\n \n\tListen here<\/a>.<\/p>\n \t\u201cMore More More\u201d<\/p>\n \n\tAlthough not a cover version of the same-named\u00a0<\/a>Andrea True Connection<\/a>\u00a0disco classic,\u00a0Fever\u2019s opening number \u201cMore More More\u201d undeniably boasts a similar insatiable joy. Cleverly bridging the gap between the poppier\u00a0Light Years\u00a0and the slicker electronica indicated by the album\u2019s minimalist William Baker-designed artwork, it also sets the sensual tone ahead: See Kylie\u2019s alluring vocal melodies or the unabashedly desiring lyrics which straddle that fine line between suggestive and explicitly sexual (\u201cHere am I and deep inside\/ I got a little spot for you\/ Ooh, make me sigh with sheer delight\u201d). A pitch-perfect opener.\u00a0\u00a0<\/p>\n \n\tListen here<\/a>.<\/p>\n \t4. \u201cCome Into My World\u201d<\/p>\n \n\tFever\u2019s singles were undoubtedly chosen well. The fourth and final landed Kylie her first ever\u00a0<\/a>Grammy<\/a>\u00a0in the best dance recording category, thwarting fellow pop icons Cher<\/a>\u00a0and\u00a0<\/a>Madonna<\/a>\u00a0in the process. It also followed its three predecessors into the UK Official Charts Top 10, reached No. 91 on the Hot 100, and spawned a mesmerizing Michel Gondry-helmed video \u2013 in which multiple Kylies navigate a Parisian suburb \u2013 regularly hailed as one of the decade\u2019s best. Sure, \u201cCome Into My World\u201d isn\u2019t a million miles away from the album\u2019s juggernaut, but the dreamier production and more enchanting vocal ensures it still has its very own charms.<\/p>\n \n\tListen here<\/a>.<\/p>\n \t\u201cIn Your Eyes\u201d<\/p>\n \n\t\u201cIs the world still spinning around?\u201d Kylie coos in one of her career\u2019s most-meta lines. Well, it might have got over those famous gold hot pants, but it was still trying to come to terms with\u00a0Fever\u2019s juggernaut of a lead single, one which could have easily overshadowed everything that followed. Luckily, Kylie had several other gems in the bag, including this effervescent ode to lust in the club. Interestingly, despite failing to even chart in the States, it\u2019s now the Aussie\u2019s\u00a0<\/a>fourth-most-streamed<\/a>\u00a0song on Spotify (third if you discount seasonal favorite \u201cSanta Baby\u201d).\u00a0<\/p>\n \n\tListen here<\/a>.<\/p>\n \t\u201cCan\u2019t Get You Out of My Head\u201d<\/p>\n \n\tWith its juddering\u00a0<\/a>Kraftwerk<\/a>-esque synths and infectious \u201cla la la\u201d hooks, \u201cCan\u2019t Get You Out of My Head\u201d practically conquered the world in 2001, famously drubbing\u00a0Victoria Beckham<\/a>\u2019s debut solo single in a one-sided\u00a0<\/a>U.K. <\/a>chart<\/a> battle<\/a>\u00a0and returning the Aussie to the Hot 100\u2019s top 10 (No. 7 to be exact) for the first time since 1988\u2019s \u201cThe Loco-Motion.\u201d Its\u00a0Metropolis-inspired video and inspired mash-up with\u00a0<\/a>New Order<\/a>\u2019s \u201cBlue Monday\u201d \u2013 performed while chained to a spinning disc at the BRITs \u2013 only strengthened its legacy, too. A genuine game-changer not only for Kylie, but for the entire world of pop.<\/p>\n \n\tListen here<\/a>.<\/p>\n \t\u201cLove at First Sight\u201d<\/p>\n \n\t\u201cCGYOMH\u201d may have been the monster smash, but\u00a0Fever\u2019s third single \u2013 a UK\u00a0<\/a>No. 2<\/a> and Hot 100 No. 23 hit\u00a0 \u2013 was its ultimate keeper. From its head-over-heels disposition to the vibrant production, \u201cLove at First Sight\u201d captures the euphoria of a new relationship in sunshine-in-a-bottle style. And Kylie has never sounded more joyous, particularly on the\u00a0<\/a>Donna Summer<\/a>-esque ad-libs, which blissfully float away into the ether (\u201cIt was love, it was love, it was love\u201d). Whereas \u201cCGYOMH\u201d was deliberately cold and clinical, LAFS sounds warm, jubilant and most impressively, completely effortless.<\/p>\n \n\tListen here<\/a>.<\/p>\n \t<\/p>\n \t<\/a><\/p>\n Get weekly rundowns straight to your inbox<\/p>\n \t\t\t\t\tThe Daily\t\t<\/p>\n A daily briefing on what matters in the music industry<\/p>\n \t\tBy providing your information, you agree to our Terms of Use<\/a> and our Privacy Policy<\/a>.
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