Editing Let's Get to It (section)

==Recording and production==
[[File:Pete Waterman speaking at the 2014 TGTG Conference 2014 3 (cropped 2).jpg|thumb|upright|Minogue wrote and produced ''Let's Get to It'' alongside [[Mike Stock (musician)|Mike Stock]] and [[Pete Waterman]] (''pictured in 2014'')]]

''Let's Get to It'' was not a contractual obligation for Minogue; [[Pete Waterman Entertainment|Pete Waterman Limited]] (PWL) had signed her initially for three studio albums.<ref>{{harvnb|Flynn|2019|ps=: "Non-Stop Dancing" by Hurley, Oliver|page=32}}; {{harvnb|Australian Broadcasting Corporation}}</ref> However, [[Pete Waterman]] and PWL co-owner David Howells wanted to make another album with her because of the commercial benefits.<ref>{{harvnb|Flynn|2019|ps=: "The Hitmen & Her" by Lindsay, Matthew|page=29}}; {{harvnb|Australian Broadcasting Corporation}}</ref> Stock contacted Minogue while she was in Paris and they both agreed to do it.<ref name="classic29"/> While Minogue had been reticent about resigning, her manager Terry Blamey convinced her it would be a good creative opportunity to write with Stock.<ref name=":0" /> Over the course of 1991, Minogue left the city and returned to PWL Studios in London with her remaining producers Stock and Waterman.<ref>{{harvnb|PWL|1991d}}; {{harvnb|Smith|2014|page=102}}</ref> The two agreed to share their songwriting credits with Minogue for the first time; she was listed as a co-writer on six tracks out of the nine original tracks.<ref>{{harvnb|Smith|2014|page=103}}; {{harvnb|''Kylie.com'' C}}</ref> Waterman would provide hints about the content and song titles, while Stock and Minogue put the songs together by humming different melodies and recording them within a day.<ref name="lookweird">{{harvnb|''Big!''|1991}}</ref> She spent months working on ''Let's Get to It'', more time than any of Minogue's earlier works.<ref>{{harvnb|Bigsby|Hill|Dale|1991|ps=: [Minogue]: "... I spent a few months on this album, which is the most time I've spent on any album, which is really nice."}}</ref>

During the production, [[Electronic dance music|club music]] and the London [[Nightclub|club scene]] fascinated Minogue. Although her music had always been played in commercial clubs, the pop element of her earlier works made the exclusive clubs look down on her.<ref name="rage1">{{harvnb|Australian Broadcasting Corporation}}; {{harvnb|Smith|2014|page=104}}</ref> "If you go into [[Bowlers' Club of New South Wales|Bowlers]] or you go into [[the Haçienda]], you can't play '[[I Should Be So Lucky]]' can you? They're going to lynch you!", Waterman said.<ref name="louderthanwar">{{harvnb|Fat Gay Vegan|2015}}</ref> To give herself more credibility with clubs, Minogue created an [[Pseudonym|alias]] for herself as "Angel K" and released several [[white label record|white label]] [[promotional recording|promotional vinyl]]s. The tracks released included "Do You Dare" and "Closer", which later appeared as [[A-side and B-side|B-side]]s on the [[Single (music)|single]]s "[[Give Me Just a Little More Time#Kylie Minogue version|Give Me Just a Little More Time]]" and "[[Finer Feelings]]", respectively.<ref name="rage1"/> Waterman also wanted to produce more "cutting edge dance music" for Minogue to fit in his show ''[[The Hitman and Her]]'', which he considered a trendy show back then.<ref name="louderthanwar"/> Minogue suggested she hoped to find time for more recording in 1991, telling ''[[Smash Hits]]'' in August that she "may do some more writing in America which may lead to another recording there", but the recordings never materialised.<ref name="smashaug">{{harvnb|Doyle|1991}}</ref>

Waterman and PWL imported songs for ''Let's Get to It'' recorded by foreign acts like [[2 Unlimited]], whose song "[[Get Ready for This]]" (1991) is [[Sampling (music)|sampled]] heavily on "[[I Guess I Like It Like That]]".<ref name="classic31"/> Their intention was to buy these songs cheaply and make a profit from them. Stock felt uninspired by this and the mostly sample-based album, saying: "There's no point having an artist like [Minogue] or a writer like me there if the rule is [buying] cheap from abroad."<ref name="classic29"/> He composed "Finer Feelings" with Waterman, as Minogue wanted to put more sexual content on the album.<ref name="classic32">{{harvnb|Flynn|2019|ps=: "Non-Stop Dancing" by Hurley, Oliver|page=32}}</ref> Minogue and American singer [[Keith Washington]] wrote and recorded the duet "[[If You Were with Me Now]]" separately. It was her first duet on any of her albums; "[[Especially for You]]" was recorded previously for [[Jason Donovan]]'s ''[[Ten Good Reasons]]'' (1989).<ref name="ifyouwere">{{harvnb|''Kylie.com'' D}}; {{harvnb|Flynn|2019|ps=: "Wash and Go" by [[John Earls|Earls, John]]|page=102}}</ref> One of the last tracks to be recorded for ''Let's Get to It'' was the cover of [[Chairmen of the Board]]'s "Give Me Just a Little More Time" (1970).<ref name="gmjalmt">{{harvnb|''Kylie.com'' E}}</ref>