<P> Through the lyrics of the song, its singer expresses an obsession with an anonymous figure . Dorian Lynskey from The Guardian termed the song a "mystery" as Minogue never reveals the identity of her object of infatuation . The critic suggested that the person Minogue is referring to is either "a partner, an evasive one - night stand or someone who doesn't know she exists ." Writing for the same newspaper, Everett True identified a "darker element" in the simple lyrics and felt this sentiment was echoed in Minogue's restrained vocals . Further, True emphasised that while Minogue's 1987 single "I Should Be So Lucky" had presented an optimistic romantic future, "Can't Get You Out of My Head" focuses on an "unhealthy" and potentially destructive obsession . He also noted that in the former song, Minogue played "the wide - eyed ingénue with alacrity," but in the latter song she is aware of the harmful nature of her infatuation, calling it a "desire that is wholly dependent on her own self - control ." </P> <P> In late 2012, "Can't Get You Out of My Head" was re-recorded by Minogue for inclusion in her orchestral compilation album, The Abbey Road Sessions . On the album, Minogue reworked 16 of her past songs with an orchestra, which, according to Nick Levine from BBC Music, "re-imagine them without the disco glitz and vocal effects ." The Abbey Road Sessions - version of "Can't Get You Out of My Head" features a "more dramatic, fully fleshed out" musical arrangement, and follows a pizzicato playing technique, in which the strings of a string instrument are continuously plucked . </P> <P> The song received overwhelming critical acclaim, subsequently being cited as one of the greatest songs of the 2000s . Chris True from AllMusic picked the song as a highlight of Fever, commenting that it "pulses and grooves like no other she's (Minogue's) recorded ." Jason Thompson from PopMatters described Minogue's vocals as a "sexual come on" and called the song "trim and funky, certainly something that couldn't miss anywhere ." Dominique Leone from Pitchfork Media praised the commercial prospect of the song, saying that it "exudes a catchiness that belies its inherent simplicity, so reassuring during an era when chart acts sound increasingly baroque and producers race to see who can ape electronic music trends first ." Jim Farber from Entertainment Weekly said that the song "fully lives up to its title" with "every sound a hook," and compared it to the works of Andrea True . Michael Hubbard from MusicOMH labelled the song "one of 2001's best singles," saying that it "predictably beat off lesser' competition ."' In 2012, The Guardian critic Everett True defined "Can't Get You Out of My Head" as "one of those rare moments in pop: sleek and chic and stylish and damnably danceable, but with a darker element hidden in plain sight ." Billboard's Jason Lipshutz felt that "the metallic production wouldn't carry quite as much of its impact if Minogue had attempted to outshine it; wisely, her voice operates alongside it, finding renewed power in its drive", concluding that "almost 15 years after its release, it still sounds fresh, forward - thinking and alive". </P> <P> The Abbey Road Sessions--version of the song received generally positive reviews . Tim Sendra from AllMusic felt that "most interesting reboot" in the album took place on "Can't Get You Out of My Head," saying that the "insistent strings push the song along with a tightly coiled electricity that is impossible to resist ." He also picked the song as a highlight on the album . Sal Cinquemani from Slant Magazine chose the song as one of the "standouts" on the album, saying that its arrangement "compensate for the lack of synthetic dance beats and vocal effects ." Tania Zeine from ARIA Charts described the track as a "powerful violin ballad with the accompaniment of a large orchestra throughout the remainder ." Simon Price from The Independent said that while the original version of "Can't Get You Out of My Head" would be "impossible to improve on," the reworked version "turns it into a pizzicato thriller score ." Jude Rogers from The Quietus, however, felt that the song does not "respond well to this (orchestral) treatment ." Louis Vartel from the LGBT oriented website NewNownext, called it "a pulsing march through the most hypnotic beat of the past 20 years (...) Kylie's American breakthrough still holds up as a cool, streamlined dance - floor magnet". He ranked the track on the second position of his list of the singer's 48 greatest songs, in honor of her 48th birthday . John Russell, from LGBT magazine Queerty, concluded that "even if' La - La - La' didn't make Kylie a household name in the States, at the very least it introduced her to a whole new generation of adoring American gays". </P>

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