Not the sexual innuendo kind, but her last full length album.
Generally regarded as Kylie’s failed attempt at going urban/hip-hop, it is so much more than someone’s one line soundbyte. Kylie fuses the sounds of pop – dance – r&b together so well, that it takes some real time too fuly absorb the magic of this album.

Many feel that this album is a flop, since it followed up ‘Fever’, which is basically Kylie’s biggest selling album ever, as driven by her biggest single ‘Can’t Get You Out of My Head’, ‘Body Language’ manages to avoid some of ‘Fever’s more cheesy filler moments and delivers a more mature, yet energetic sound from start to end.

The album starts with the lead single ‘Slow’, an electro pop song that rides minimal beat and would sound at home in the realm of Massive Attack or Portishead (on a more upbeat day). She then lets us know that she is indeed ‘Still Standing’, a fun pop song about staying on top and a great testament to Kylie’s longevity. Then, Kylie brings us ‘Secret (Take You Home)’, a disco/funk/hiphop song with not only a fab Lisa Lisa & Cult Jam sample, but Kylie rapping as well. Before you shudder with thoughts of Madonna’s ‘American Life’ the rap is light, pointless yet sexy, and basically – the chorus, but sung more staccato… or rappish. In between the next two songs, ‘Promises’ & ‘Red Blooded Woman’, 2 more urban pop dittiesthat are still fun and not weighted with the synthetic posturing most pop stars put on when making more urbane sounding music, we have ‘Sweet Music’, a delicious 80’s sounding song, that shows what Kylie may have done had she ha more artistic control when her career started.. Kylie then throws us for a loop with some bonafide baby-making music in ‘Chocolate’. The evolution of ‘Chocolate’ is a strange one as the record company commissioned a rap for the song by Ludacris, which Kylie eventually nixed, nowing it would fuck with her credibility to rent-a-rapper. ‘Obsession’ is some more slick urban pop before we’re then hit over the head with a great little start stop dance tune ‘I Feel For You’. ‘Someday’ follows, featuring some exciting guest vocals by Scritti Politti’ Green Gartside, before we get another laidback electro-pop gem in ‘Loving Days’ (which also sounds great on the baby-making music mix cd). Kylie closes the album with one of her funkiest efforts, and one of my personal favorites, ‘After Dark’ which sounds almsot like a Prince album track. All in all, the album is a pop dynamo, blending many styles while still staying true to what we know and love about Kylie.
Things got screwed up along the way, and we were only blessed with 3 singles from the album, ‘Slow’, ‘Red Blooded Woman’, & ‘Chocolate’. While all 3 were great and gave us the fun dance-y remixes we were craving, most fans were left wanting just one more. ‘Secret’ ‘Sweet Music’ & ‘Still Standing’ all have strong single potential. There was also an initially leaked track list in which only ‘Slow’ was a song that came to be released was leaked months before the album’s released, boasting collaborations with the Neptunes, and titling the album, ‘City Games’, was claimed to be false. Though we are left wondering how false the information was, when ‘City Games’ & ‘You Make Me Feel’ & ‘BPM’ (all songs on the false tracklist) have all turned up as b-sides to other singles.

Either way, ‘Body Language’ was a wonderful album, one I encourage all of you to run out and buy, and enjoy just has much as I have for years!