Audio Mixers: Tom Elmhirst; Tom Carlisle; Tim Orford; Bruce Elliot Smith; Phil Larsen; Adrian Bushby; Mark Picchiotti; Pascal Gabriel; Paul Wright ; Ash Howes; Tommy D; Rob Davis ; Cathy Dennis.

Recording information: BJG Studios; Olympic Studios, London, England; Phil's; Rob's; Stella Studio.

Photographer: Vincent Peters.

Arranger: Steve Anderson.

Fame can be a fleeting mistress, and nowhere more so than in the land of dance-pop divas. Many are lucky enough to have a hit album, much less two or three. What usually takes a one-hit wonder from the singles charts to career diva lies less in catchy hooks than in a combination of talent and the choice of collaborators. Obviously, the master of this technique is Madonna, whose talent and eye for talent in others has made her not only a worldwide pop sensation, but a worldwide icon. Arguably, running a close second is Kylie Minogue. Starting off as not much more than a female voice for the massively successful Stock, Aitken & Waterman hit factory, she moved on to work with some of the most prominent dance producers of the early '90s, making her one of the most visible pop stars outside of the United States. By 1997, she moved on to working with writers outside the genre. While this may have translated into poor record sales, her motives were in the right place. With 2001's Fever, Minogue combines the disco-diva comeback of the previous year's Light Years with the trend of simple dance rhythms which was prevalent in the teen dance-pop craze of the years surrounding the album's release. While on the surface that might seem like an old dog trying to learn new tricks, Minogue pulls it off with surprising ease. The first single, "Cant Get You Out of My Head," is a sparse, mid-tempo dance number that pulses and grooves like no other she's recorded, and nothing on Light Years was as funky as the pure disco closer of "Burning Up." And while it's hard not to notice her tipping her hat to the teen pop sound (in fact, on this record she works with Cathy Dennis, former dance-pop star and writer/producer for Brit-teen pop group S Club 7) on songs like "Give It to Me" and "Love at First Sight," her maturity helps transcend this limiting tag, making this a very stylish Euro-flavored dance-pop record that will appeal to all ages. Not one weak track, not one misplaced syrupy ballad to ruin the groove. The winning streak continues. [The U.S. version, released in early March of 2002, included the hidden tracks "Boy" and "Butterfly" -- a B-side and Light Years album track, respectively.] ~ Chris True

It's more than just journalistic shorthand to refer to Kylie Minogue as the European Madonna. She's been at it as long as the Material Girl, and her mix of sexy style and dance-pop sound is very much in league with that of her American counterpart. The catch here is that, while Minogue had previously only been a star in Europe, FEVER represents her American breakthrough. Not surprisingly, the sound of FEVER will appeal to fans of Madonna's MUSIC album. It's full of bubbly synths, amiably poppy melodies, club beats and sensual vocal stylings. If anything, Minogue comes off as slightly less hard-edged than you-know-who, more concerned with immersing herself in the songs and production than in projecting her larger-than-life personality. That kind of attitude can only aid in the making of a successful pop record, which is the most accurate description of FEVER.