It was the final studio album with Pete Waterman Limited (PWL), being released by the record label in the United Kingdom on 14 October 1991.

Music critics provided mixed reviews, recognising Minogue's creative control and her provocative image despite them being ambivalent towards the production.

In 1990, Minogue released her third studio album Rhythm of Love, reflecting a more sexually liberated image and 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.

[2] Promotion for Rhythm of Love included controversial music videos for "Better the Devil You Know" and "What Do I Have to Do", which continued to foster Minogue's increasingly provocative image.

[3] 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.

[5] 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.

[9] They were disappointed by the contemporary trends in music; Mike Stock commented: "We always tried to create pop hooks... By the 1990s, it was made by people who were off the heads on ecstasy.

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.

[23] Music critics identified Let's Get to It as a genre-spanning record, departing from the predominantly teen pop sound of Minogue's early works.

[24] Minogue stated her songs on the album ranging from "big band swing stuff to a more soulful kind of thing", and more sophisticated dance music.

[26] Sal Cinquemani of Slant Magazine and Lee Barron noted the sounds of R&B, hip hop, new jack swing, and house are featured prominently on Let's Get to It.

[36] The six-minute techno-pop "I Guess I Like It Like That", which serves as the album's closer, includes grunting samples and a stadium keyboard part that lays the foundation of the song.

[16] Oliver Hurley of Classic Pop felt that Minogue looked moody and the artwork was "a striking contrast to the grinning popstrel" of her previous image.

[21] Writing for Idolator, Mike Wass complimented the cover as "hip and edgy", and commented that "[Minogue] was entering her cool phase.

"[43] True commented that the sinister cover, and the title, helped Minogue transform fully "from her innocent dance-pop image to what the press dubbed 'SexKylie'", and described her as a "self-made sex kitten".

[42] Minogue named the album Let's Get to It; she first revealed the title on 31 August 1991 while she was performing "Word Is Out" on the children's television series Motormouth.

[48] In October 2014, it was announced Let's Get to It, along with Minogue's studio albums Kylie (1988), Enjoy Yourself (1989), and Rhythm of Love, was to be re-released by Cherry Red Records and PWL.

[66] The single was available as a limited edition 12" Summer Breeze mix, which "radically remixed" and reduced "the synthesised band sound" from the original version.

[68] It features English TV presenter Davina McCall, and Minogue is seen seductively dancing in stockings and suspenders on the streets.

[89] Griffiths hailed it as her best album because of the improved production, but still viewed it as a "false tease" and admitted that Minogue's music "is still for virgins, even if they now read The Face".

[87] Betty Page of NME wrote that Minogue had made an "exceedingly good pop record", praising her strong vocal performance on "No World without You".

[90] Mark Andrews of Smash Hits and Oliver Hurley were less impressed with the album's ill-advised R&B influence, saying that Aitken's absence was notable and the material is forgettable.

[91] Levine commented that the album "lacks a moment of pure pop brilliance" to match Minogue's earlier works.

[32] Retrospect reviews by Cinquemani, True, and Hurley viewed the album as a clear statement for Minogue's departure from PWL, whose musical relationship had become too restrictive.

[92] In 2018, Cinquemani wrote that none of the musical genres featured on the album were particularly flourishing, and compared SAW-produced tracks unfavorably to the American sounds of Clivillés and Cole, Jam and Lewis, and Full Force.

[93] A writer from Classic Pop magazine ranked it as the eighth-best Stock Aitken Waterman album, deeming it as a bold statement.

[28] In the biography Kylie: Naked (2012), Nigel Goodall and Jenny Stanley-Clarke called it her first album to have "a personal feel, with influences from her own tastes in music".

[85] Despite the mixed critical reception, Minogue received a nomination for Best Female Artist at the ARIA Music Awards of 1992 as a result of her work on Let's Get to It.

[70] Minogue was disappointed with the album, feeling that SAW had reverted to formulaic tunes and by the time Let's Get to It came, "the magic [had] gone and the record sank quickly".