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Winter Angel
Released: N/A
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Warm and Tender
Released: 1989
Label: N\A

{^Warm and Tender} is a major achievement for {$Olivia Newton-John}, a majestic combination of {\lullabies} and standards. Where {$Eva Cassidy} found fame with her posthumous {\folk-jazz} version... Continue[+]

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{^Warm and Tender} is a major achievement for {$Olivia Newton-John}, a majestic combination of {\lullabies} and standards. Where {$Eva Cassidy} found fame with her posthumous {\folk-jazz} version of {&"Over the Rainbow,"} {$Newton-John} takes the {$Harold Arlen}/{$E.Y. Harburg} classic from {#The Wizard of Oz} and gives it a mature and classy reading. {$Judy Garland} still sounded like young {%Dorothy}, even on her final recording, {^July-London-1969}, but this especially beautiful rendition stands on its own with the popular artist taking the beloved classic to a new place. The title track is a co-write by {$John Farrar} and {$Newton-John} for her daughter, {$Chloe}, who was the inspiration for these recordings. {$Newton-John} writes extensive liner notes -- thoughts on the recording of the disc as well as environmental issues. As a United Nations Honorary Ambassador for the Environment, the singer put her fame to good use, though without a hit single, the message hardly reached the millions of fans who purchased {$Newton-John}'s more commercial sounds. {$Carol Hall}'s composition {&"Jenny Rebecca"} and the songs that follow on {^Warm and Tender} play more like {$Linda Ronstadt} with {$Nelson Riddle} than the {\lullabies} that some of the songs really are. The beautiful strings of Melbourne's {$Victoria Philharmonic Orchestra} put the singer's voice in a very different setting than what her fans are used to. {$Newton-John} performing {$Rodgers & Hammerstein} must have been a totally fulfilling experience for her, and she does a great job on {&"You'll Never Walk Alone,"} {&"The Twelfth of Never,"} {&"When You Wish Upon a Star,"} and {&"Brahms Lullaby."} The revelation here, however, is taking the {$Burt Bacharach} and {$Hal David} classic {&"Reach out for Me"} and breathing a different life into it. Where {$Dionne Warwick} was the perfect '60s artist to bring the song home, {$Olivia Newton-John} puts her voice atop {$John Farrar} and {$Brian Mann}'s instrumentation and {$Sean Callery}'s synclavier. The result is as astonishing as the work with {$the Victorian Philharmonic} on some of the other tracks. If {$Olivia Newton-John} made {^Warm and Tender} to prove to the world that she is an artist with depth and courage, she achieved her goal. It's a marvelous recording. ~ Joe Viglione, All Music Guide

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Olivia Newton-John's Greatest Hits
Released: 1982
Label: N\A

{$Olivia Newton-John} has had many greatest-hits compilations over the years. Since she is due for a renaissance, it will be valuable to distinguish between the ones available. {^Olivia... Continue[+]

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{$Olivia Newton-John} has had many greatest-hits compilations over the years. Since she is due for a renaissance, it will be valuable to distinguish between the ones available. {^Olivia Newton-John's Greatest Hits} was first released in 1982 to capitalize on her newfound mainstream success. The album was released the same year as {^Olivia's Greatest Hits, Vol. 2}. The first volume represented nine songs from {$Newton-John}'s early {\country} material while the second can be described by the words {#Xanadu}, {^Physical}, and {#Grease}. So in 1982 buyers had two choices, and obviously would pick the {\pop} collection of songs they heard on the radio. The problem with {^Olivia Newton-John's Greatest Hits} is that {@MCA} had released a similar album called {^Greatest Hits} in 1977 with four songs not on the 1982 version: {&"Let Me Be There,"} {&"If You Love Me (Let Me Know),"} {&"Banks of the Ohio,"} and a cover of {$John Denver}'s {&"Take Me Home, Country Roads."} So to sensitive music critics (and {$Olivia Newton-John} fans) {^Olivia Newton-John's Greatest Hits} is a disappointing and poor album, not because the material is bad, but because of misguided judgment by the label. This is somewhat moot. On September 11, 2001, {@Universal} released {^Magic: The Very Best of Olivia Newton-John} which basically combines the two volumes into one double-CD package, making it perhaps the definitive collection. But {^Olivia's Greatest Hits, Vol. 2} was the best of the bunch for a long time (including the years when {$Newton-John} was most popular). And it remains the best choice for casual fans who only want the roller-rink hits. However, all of these compilations are in print (except the 1977 collection) and (budget notwithstanding) lacking -- if quantity of quality music is one's highest value. (With respect to the rating of this disc, how can one approve of a re-release of a compilation with four good songs removed?) ~ JT Griffith, All Music Guide

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If Not for You
Released: 1971
Label: N\A

{$Olivia Newton-John}'s {^If Not for You} covers {$Gordon Lightfoot}, {$the Band}, {$Leslie Duncan}, {$David Gates}, {$Kris Kristofferson}, {$Tom Rush}, and others. Though {&"If"} is a pedestrian... Continue[+]

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{$Olivia Newton-John}'s {^If Not for You} covers {$Gordon Lightfoot}, {$the Band}, {$Leslie Duncan}, {$David Gates}, {$Kris Kristofferson}, {$Tom Rush}, and others. Though {&"If"} is a pedestrian cover of {$Bread}'s song which hit this same year, it would be a mistake to think these are all mere "covers." The production and arrangements by {$Bruce Welch} and {$John Farrar} are innovative and worthwhile. The only song they contribute is a moving version of {&"Banks of the Ohio"}; the interpretation of {$Richard Manuel}'s {&"In a Station"} is respectful and intuitive. {^Music From Big Pink} was only three years old when this recording was pressed, and it is one of the few albums to survive the hype and get better with age. {$Olivia Newton-John} dipping into the {^Big Pink} songbook was a stroke of genius. Labelmate {$Elton John} released {$Leslie Duncan}'s {&"Love Song"} on his {^Here and There} live album, but that version doesn't have the sensitivity of this spiritual reading. Both {$Kris Kristofferson} tunes, {&"Me and Bobby McGee"} and {&"Help Me Make It Through the Night,"} have arrangements that bring new life to what had become tired {\bar band} favorites in the early '70s. {&"Where Are You Going to My Love?"} was covered by {$the Brotherhood of Man} and {$the Osmonds}, but finds its niche here, as does the superb version of {$Duncan}'s {&"Lullaby."} {$Tom Rush}'s {&"No Regrets"} and {$Gordon Lightfoot}'s {&"If You Could Read My Mind"} are well done, but it is {$Olivia Newton-John}'s cover of {$Bob Dylan} by way of {$George Harrison}'s {^All Things Must Pass} which garnered her a number one {\adult contemporary} and Top 25 hit record. {&"If Not for You"} brought {$Olivia} the attention she deserved. The musicianship by {$Lou Reed}/{$David Bowie} sessionman {$Herbie Flowers} along with {$Dave Richmond}, {$John Farrar}, and the ever present {$Brian Bennett} is top notch. After all her own hit records, hearing this superstar sing so many familiar tunes, and performing them so well, is utterly charming. ~ Joe Viglione, All Music Guide

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Let Me Be There/If You Love Me Let Me Know
Released: 1974
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MCA repackaged two of {$Olivia Newton-John's} early '70s albums, {^Let Me Be There} and {^If You Love Me Let Me Know}, as a single-cassette release in the early '80s. It's not necessarily a bad way... Continue[+]

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Let Me Be There
Released: December 1973
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Two years after the single {&"If Not for You"} hit the Top 25 on the {@Uni} label, the {@MCA} imprint re-released most of the {^If Not for You} album, along with {$Newton-John}'s second U.S. hit,... Continue[+]

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Two years after the single {&"If Not for You"} hit the Top 25 on the {@Uni} label, the {@MCA} imprint re-released most of the {^If Not for You} album, along with {$Newton-John}'s second U.S. hit, {&"Let Me Be There,"} and titled the disc after the new smash. With seductive blue ink shadowing her beautiful face and the word {$Olivia} splashed atop the cover, the company created a collector's item with the original LP, a respect from the aficionados that couldn't have been predicted in the '70s, and well-deserved credibility for the popular artist. The first single hit number one on the middle-of-the-road charts, and that market, along with her {\country} base, enabled {$Newton-John} to rack up 26 additional hits, concluding with 1985's {&"Soul Kiss,"} the last one almost mirroring her initial success, going Top 20. This collection is a little awkward for the fans who purchased the original hit album, and it gets more confusing: {@Pye} released a 1971 disc, entitled {^Olivia Newton-John}, with most of these tracks, while {@EMI} pressed two different titles in 1974, {^Crystal Lady} and {^First Impressions}, also containing much of this music. Along with the excellent title track, {&"Let Me Be There,"} {@MCA} added a cover of {$John Denver}'s {&"Take Me Home Country Roads,"} a nice rendition of the {$Merilee Rush} classic, {$Chip Taylor}'s {&"Angel of the Morning,"} and a convenient {\country} tune, {&"Just a Little Too Much."} Tunes missing on {^Let Me Be There} which appeared on the original {^If Not for You} release are the weak version of {$David Gate}'s {&"If,"} {$the Band}'s {&"In a Station,"} a second {$Lesley Duncan} tune, {&"Lullaby,"} {$Tom Rush}'s {&"No Regrets,"} {&"If I Gotta Leave,"} and {&"Where Are You Going to My Love."} It's early {$Newton-John}, a bit na�ve and far from the sophistication of her {^Warm and Tender} release on {@Geffen}, but it works, especially because it contains her first two hit records. ~ Joe Viglione, All Music Guide

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Physical
Released: October 1981
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{&"Physical"} became such a monster hit -- not just a hit, but a pop-culture phenomenon that was impossible to escape -- that it became difficult to view its accompanying album as anything other... Continue[+]

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Olivia's Greatest Hits, Vol. 2
Released: September 1982
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{$Olivia Newton-John} has had many greatest-hits compilations over the years. Since she is due for a renaissance, it will be valuable to distinguish between the ones available. {^Olivia's Greatest... Continue[+]

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{$Olivia Newton-John} has had many greatest-hits compilations over the years. Since she is due for a renaissance, it will be valuable to distinguish between the ones available. {^Olivia's Greatest Hits, Vol. 2} was first released in 1982 (and on CD in 1988) and obviously followed {^Olivia Newton-John's Greatest Hits} ({@MCA}). But by that time the world had already seen two such albums. In fact, {@MCA} released an album simply titled {^Greatest Hits} in 1977 and then {^Olivia Newton-John's Greatest Hits} in 1982. The differences between the two first volumes is clear: the 1977 one has 12 tracks while the 1982 one only has nine. The four songs not contained on the latter are: {&"Let Me Be There,"} {&"If You Love Me (Let Me Know),"} {&"Banks of the Ohio,"} and a cover of {$John Denver}'s {&"Take Me Home, Country Roads."} Clearly the label wanted to sell more records, so {^Olivia's Greatest Hits, Vol. 2} was a way of expanding her compilations without releasing a simple double album. None of the four songs not included in the 1982 version are on volume two, which is disappointing. What is included are the most popular {$Olivia Newton-John} songs, including {&"Heart Attack,"} {&"Magic,"} {&"Physical,"} {&"Hopelessly Devoted to You,"} {&"You're the One That I Want,"} {&"Suddenly,"} and {&"Xanadu."} Most fans of her early-'80s {\pop} will want {^Olivia's Greatest Hits, Vol. 2} over {^Olivia Newton-John's Greatest Hits}. But the earlier work will be of interest to the fan with more than a casual interest in her greatest hits. Those who have {^Xanadu}, {^Physical}, and the soundtrack to {#Grease} basically have all the songs here, in which case they should go for the good {$Newton-John} material they don't have. And if deciding between the two first volumes, listeners should choose the out-of-print {^Greatest Hits}. On September 11, 2001, {@Universal} released {^Magic: The Very Best of Olivia Newton-John}, which basically combines the two volumes into one double-CD package, making it perhaps the definitive collection. But {^Olivia's Greatest Hits, Vol. 2} was the best of the bunch for a long time (including the years when {$Newton-John} was most popular). And it remains the best choice for casual fans who only want the roller-rink hits. ~ JT Griffith, All Music Guide

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Clearly Love
Released: September 1975
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Nine beautiful photos accompany the lyrics -- {$Olivia} with horses, {$Olivia} in the hay, {$Olivia} with a doggy; following up the phenomenal success of {^Have You Never Been Mellow} was pretty... Continue[+]

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Nine beautiful photos accompany the lyrics -- {$Olivia} with horses, {$Olivia} in the hay, {$Olivia} with a doggy; following up the phenomenal success of {^Have You Never Been Mellow} was pretty elementary -- {$Newton-John} ruled the Top 40, {\adult contemporary}, and {\country} charts at this point in time. From the end of 1975 to early 1976, {^Clearly Love} generated a Top 20 and two Top 30 hits: {&"Something Better to Do"} and {&"Let It Shine"} b/w {&"He Ain't Heavy...He's My Brother,"} respectively. They both topped the {\adult contemporary} charts while the flip of {&"Let It Shine,"} a rare female-vocalist cover of {&"He Ain't Heavy...He's My Brother,"} also garnered radio and sales action. The choices for cover songs on this album are strange indeed: an unnecessary {&"Summertime Blues"} which adds nothing to {$Eddie Cochran}'s song of hot-weather angst and the interesting remake of {$the Hollies}' hit {&"He Ain't Heavy,"} with its big {\country}-{\ballad} ending to what started as a lilting love song. The gems here are what sound like {$Olivia Newton-John} bread-and-butter staples -- {&"Slow Down Jackson,"} which is as bubbly and beautiful as {&"Have You Never Been Mellow"}; {&"Crying, Laughing, Loving, Lying"}; the stunning title track {&"Clearly Love"}; along with, of course, the hits. {&"Let It Shine"} has lots of {\country} twang -- {$John Farrar}'s impeccable production was pretty much automatic after all their previous success. {&"Something Better to Do"} might not be among her biggest hits, but the class and style the {$Newton-John}/{$Farrar} team brought to the table -- a prime example being this title -- was very well-crafted {\pop} and set the stage for the movie {\soundtracks} down the road, which would bring her back to chart dominance. The transition from the {$Linda Ronstadt} {\soft rock} of {&"Summertime Blues"} to the harmonica-laden {&"Just a Lot of Folk (The Marshmallow Song)"} had {$Newton-John} covering all the bases. Very pleasant, inoffensive, and able to put the listener in a good mood, {^Clearly Love} is a nice addition to {$Newton-John}'s collection. ~ Joe Viglione, All Music Guide

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Can't We Talk It Over in Bed
Released: 1985
Label: N\A

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Olivia Newton-John

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