Kylie Minogue's Fever XXV: B-Sides, Remixes and Vinyl

A Korg Triton workstation, a Roland Juno-1 and an Akai sampler carried most of Can’t Get You Out of My Head, and 25 years on, the album that song led is coming back. Kylie Minogue’s Fever returns on 27 November as Fever (XXV Edition) through Parlophone, on crystal-clear vinyl and as a two-CD set whose second disc gathers B-sides, bonus tracks and remixes from the era.

Minogue announced the edition exactly 25 years after the original album was released, Attitude reported. Fever first came out on 1 October 2001, according to Retropop, and it is the record that carried four singles: Can’t Get You Out of My Head, In Your Eyes, Love at First Sight and Come Into My World.

What Is on Fever (XXV Edition)

The vinyl is the collector’s version. The crystal-clear pressing comes in the original sleeve with an alternate back cover, housed in a reflective mirror-board outer sleeve embossed with a silhouette of the original artwork. Inside is a previously unseen contact sheet from the album shoot, photographed by Vincent Peters. A second colourway, Arctic Pearl, is sold only through Minogue’s official store.

The two-CD edition is where the new listening sits. It pairs the original 12-track album with a second disc of B-sides, bonus tracks and remixes. According to Attitude, that disc includes Can’t Get Blue Monday Out Of My Head, the New Order mash-up Minogue performed at the 2002 BRIT Awards, alongside Boy, Rendezvous At Sunset, Tightrope, Good Like That, Never Spoken, Harmony and Baby, plus remixes of In Your Eyes, Love At First Sight and Come Into My World. Retropop names the remixers on the set as Roger Sanchez, Twin Master Plan and Fischerspooner.

The packaging varies by edition. The standard CD comes in a three-panel digipack with a 12-page booklet of lyrics and photographs, while the webstore edition carries an extended 20-page booklet and a mirror-board outer sleeve with the Fever (XXV Edition) logo, Retropop reported. Pre-orders are open through retailers including Amazon, HMV, Rough Trade and Townsend, with exclusive editions and bundles on Minogue’s own store.

The Can’t Get You Out of My Head 12-Inch

A limited-edition 12-inch of Can’t Get You Out of My Head arrives on the same day. Side A carries the original and the extended versions; side B has Can’t Get Blue Monday Out Of My Head and Peggy Gou’s Midnight Remix, Attitude reported. Retropop lists the 12-inch as exclusive to Minogue’s store.

The mash-up is the B-side that matters most to electronic listeners. It sets Minogue’s song against New Order’s Blue Monday, and she performed it at the 2002 BRIT Awards; on the 12-inch it sits directly behind the original and extended versions of the song it was built from. For the story of the band on the other side of that mash-up, read From a Homemade Sequencer to the Rock Hall, New Order Arrive Divided.

There is a merchandise line too, and it leans on the era’s look and hook: a silver Fever eye mask, a “La La La” ice cube mould, a special-edition camera and a Fever Kit, according to Attitude.

How a Korg Triton Built Can’t Get You Out of My Head

The single was written by Cathy Dennis and Rob Davis, and it came together fast. “I always feel that Can’t Get You Out Of My Head shouldn’t have been the hit that it was – it was written in about two-and-a-half hours,” Dennis told Music Week in 2019, as MusicRadar reported. Davis, a guitarist, brought chord ideas; Dennis jammed over them with Bronski Beat in mind for the melody. “There have been lots of songs that have been easy to write over the years, but it was probably one of the quickest, if not the quickest, sessions I’ve ever done in my life,” she said.

The low end began as a keyboard idea. “Then I had an idea for the, well, I call it the bassline, which was a kind of Kraftwerk idea which I played on the Korg Triton,” Dennis said. That workstation turned out to be the source of almost every sound on the track, according to what Davis told Sound on Sound in 2002, as MusicRadar recounts. “The whole Kylie record was done on the Triton,” he said. The hi-hats, bass drum and snare came off the Triton, with a loop from the Akai sampler.

Davis described the build part by part. “There’s two basses: an organ bass out of the Triton and a Roland Juno-1, which has blown up since! Strings and Wurli were off the Triton,” he said. The famous vocal hook was handled the same way: “I sampled the ‘las’ into the Akai in the end, so they’re coming back off MIDI. There’s a filtered, gated synth part off the Triton, and a wah-wah guitar from the Johnson J-Station.”

That list doubles as a listening guide: the two basses underneath, the filtered, gated synth part above them, and the “la la la” line, a sampled vocal triggered over MIDI like any other instrument. The hook itself arrived last. “I came back and a lot of lyrics fell into place quite quickly. Then we worked on the second verse together and then I came up with the, ‘la, la, la’ thing just before I was leaving and that was it,” Dennis told Music Week.

Dennis remembered the production as modest work. “I co-produced Can’t Get You Out Of My Head with Rob,” she said. “Kylie was in the studio at the same time – I didn’t have any expectations and I don’t think she did either.” Some of it was recorded in Universal’s writing room and finished in a studio in Hampstead. “It was a really cheap production,” she said. MusicRadar adds that the song only reached Minogue after S Club 7 and Sophie Ellis-Bextor had turned it down.

What Fever Did in 2001

The album was a global success. Fever topped the charts in the UK, Australia and across Europe and has sold more than six million copies worldwide, Attitude reported. Its lead single reached No. 1 in more than 40 countries and spent four weeks at No. 1 in the UK.

Three more singles followed. Come Into My World, with a video by Michel Gondry, brought Minogue her first Grammy, for Best Dance Recording, in 2004, according to Attitude. The era also produced some of her most recognisable visuals, above all the white hooded jumpsuit from the Can’t Get You Out of My Head video.

Why Can’t Get You Out of My Head Came Back in 2026

The anniversary lands while the lead single is having a second life. Can’t Get You Out of My Head became one of this summer’s viral hits and recently entered Spotify’s Billions Club, Attitude noted. That puts a 2001 track, built largely on one workstation, in front of a new generation of listeners.

Minogue has kept the song close in the years between. When she gave her first live performance of Padam Padam, which MusicRadar called her biggest hit in years, on American Idol, she segued into Can’t Get You Out of My Head, MusicRadar reported. A Peggy Gou remix on the new 12-inch extends the same idea, handing the original programming to a current club producer.

How to Hear Fever (XXV Edition)

The choice of format comes down to what a listener wants from Kylie Minogue’s Fever a quarter of a century on. The crystal-clear vinyl is for the object: the mirror-board sleeve and the Vincent Peters contact sheet. The two-CD set is for the music that never made the original album, from Boy and Tightrope to the remixes. The 12-inch is for the mash-up and the Peggy Gou version.

Whichever edition, the core of the record is unchanged: twelve tracks, four singles and a lead song whose parts, by its own producer’s account, came almost entirely from one Korg Triton. Twenty-five years later, those sounds still carry the same pull, and Kylie Minogue’s Fever is the album to hear them in full.