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Olivia Newton-John

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ONJ: Twin Best Now
Released: 1992
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Soul Kiss
Released: 1985
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Grease - REMIX
Released: 1998
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Don't Stop Believin'
Released: October 1976
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The 1976 edition of {$Olivia Newton-John} continues the positive vibe that {^Have You Never Been Mellow} initiated, and though the title track hit number one on the {\adult contemporary} charts, it, surprisingly, failed to go higher than Top 30 {\pop}. A shame because exactly five years later a different song with the exact same title and sentiment went Top Ten for {$Journey}; the comparison is appropriate because {^Don't Stop Believin'} is one of the slickest of {$Newton-John}'s {\country pop} releases. Despite the extra gloss producer {$John Farrar} put on this, it still retains some of the warmth of earlier {$Newton-John} projects while making that inevitable pitch to the '70s record buying public. {&"New Born Babe"} contains elegant musicianship, while {$Bruce Welch}'s {&"Hey Mr. Dreammaker"} is bouncy {\country} -- the antithesis of {$Gary Wright}'s {&"Dream Weaver,"} which was released, not so coincidentally, the same year. That {$Gary Wright}, {$Olivia Newton-John}, and {$Journey} influenced each other's works, even if just thematically, says something about that period in music, but the real oddity here is {$Chris Christian} showing up co-writing {&"Compassionate Man"} with producer {$Farrar}. The highly touted {\Christian pop} singer was supposed to cross over as big as {$Christopher Cross}, but made hardly a dent in the {\pop} consciousness of the time. Like his career, the contribution here is not going to overwhelm anyone, though it's not bad either. The {$Don Black}/{$Hank Marvin}/{$John Farrar} composition {&"Sam"} works much better, and hit the Top 20, as well as gaining number one {\adult contemporary} status, in early 1977. Despite the silly rhyme � la {$Elton's John}'s plane & Spain in {&"Daniel,"} {&"Sam"} (you know where I am) boasts a gorgeous conclusion with soaring music that drove it higher on the {\pop} charts. That {$Olivia} didn't cover more {$Marvin, Welch & Farrar} is a mystery, though 60 percent of {^Don't Stop Believin'} is comprised of a song written by one or more of that trio, a unique incident and worthy of note. That she and {$Cliff Richard} only had one duet that was a hit, four years after this release, is a pity. So many individuals involved in her music came from {$Cliff Richard} and {$the Shadows}, which created an opportunity for this album to be more than it is. As the {\new wave} was breaking, this highly commercial artist would have been viewed as more hip, broadening her appeal, had she embraced her {$Cliff Richard} & {$the Shadows} heritage. Nonetheless, the title track, like the song {&"Come On Over,"} which preceded it by five months, is one of her best moments, and as {&"Come On Over"} should have had a lengthier stay at the top of the charts, the same goes for {&"Don't Stop Believin'."} Both {&"Magic"} and the song {&"Physical"} accomplished what these songs should have -- sustained dominance of the {\pop} charts. They came from albums that were even more slickly produced than this. {^Don't Stop Believin'} is almost the mid-point in her chart reign, the 11th and 12th out of 28 Top 40 hits, and it is a transition period, as the soundtrack phase of her career kicked in after this. ~ Joe Viglione, All Music Guide

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Olivia In Concert
Released: 1983
Label: N\A

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Olivia Newton John and the Sydney Symphony - Live at the Sydney Opera House
Released: Jan 8, 2008
Label: EMI

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