Editing Let's Get to It (section)

==Background==
In 1990, Minogue released her third studio album ''[[Rhythm of Love (Kylie Minogue album)|Rhythm of Love]]'', reflecting a more sexually liberated image and [[Dance music|dance]]-influenced sound. She became more involved in the album's creation and arrangement than her previous projects alongside being credited as co-writer for the first time, while [[Stock Aitken Waterman]] (SAW) were the primary producers.<ref>{{harvnb|Macias|2018}}; {{harvnb|Soutar|1990}}</ref> Promotion for ''Rhythm of Love'' included controversial [[music video]]s for "[[Better the Devil You Know]]" and "[[What Do I Have to Do]]", which continued to foster Minogue's increasingly provocative image.<ref>{{harvnb|Goodall|Stanley-Clarke|2012|p=69}}; {{harvnb|''Kylie.com'' A}}; {{harvnb|''Smash Hits''|1990}}; {{harvnb|Smith|2014|pages=91–92}}</ref> Her romantic relationship with Australian rock band [[INXS]]'s lead singer [[Michael Hutchence]], one of her biggest influences during the production of ''Rhythm of Love'', also generated intense publicity.<ref>{{harvnb|Soutar|1990}};  {{harvnb|Smith|2014|pages=91–92}}; {{harvnb|Goodall|Stanley-Clarke|2012|p=66}}</ref> In early 1991, Hutchence ended their 16-month relationship over the telephone.<ref>{{harvnb|Smith|2014|page=100}}; {{harvnb|Flynn|2019|ps=: "Non-Stop Dancing" by Hurley, Oliver|page=32}}</ref>

After finishing the [[Rhythm of Love Tour]], which spanned through Australia and Asia in February and March 1991, Minogue took a short break and spent time in Paris with her friends.<ref>{{harvnb|''Kylie.com'' B}}; {{harvnb|Smith|2014|page=101}}</ref> Among them was British photographer [[Katerina Jebb]], who later became a frequent collaborator of hers.<ref name="Smith101">{{harvnb|Smith|2014|page=101}}</ref> She dated model Zane O'Donnell, who appears in the music videos for "What Do I Have to Do" and "[[Shocked (song)|Shocked]]".<ref>{{harvnb|Smith|2014|page=106}}; {{harvnb|Goodall|Stanley-Clarke|2012|p=74}}</ref> During the production of ''Rhythm of Love'', SAW struggled to find an audience for their [[pop music|pop]] output.<ref name="classic29">{{harvnb|Flynn|2019|ps=: "The Hitmen & Her" by Lindsay, Matthew|page=29}}</ref> They were disappointed by the contemporary trends in music; [[Mike Stock (musician)|Mike Stock]] commented: "We always tried to create pop hooks... By the 1990s, it was made by people who were off the heads on [[MDMA|ecstasy]]. They'd be fascinated just with two notes going backwards and forwards."<ref name="classic29"/> As a result, [[Matt Aitken]] left SAW in 1991 because he felt he was [[Occupational burnout|burnt out]].<ref name="classic31">{{harvnb|Flynn|2019|ps=: "The Hitmen & Her" by Lindsay, Matthew|page=31}}</ref> "People say all our records sound the same, but it came to a point where they started sounding all the same to me," he said.<ref name="Petridis">{{harvnb|Petridis|2005}}</ref>