Tag: Olivia Newton-John

Title: Olivia Newton-John – Physical (1981) [Japanese Limited SHM-SACD 2012]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

Uses the 2012 DSD master based on Japanese original analog tape. Reissue features the high-fidelity SHM-SACD format (fully compatible with standard SACD player, but it does not play on standard CD players). DSD Transferred from analogue master tapes by Masaru Takagi.
“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 than a conduit for the single. The thing was, Physical was a damn good record, in many ways one of Olivia Newton-John’s very best. Picking up where Totally Hot and Xanadu left off, Physical skillfully balances catchy yet mellow dance cuts with immaculately crafted adult contemporary pop and ballads. The title track, of course, is the best example of the dance side, but “Landslide,” “Make a Move on Me,” and “Promise (Dolphin Song)” illustrate that Physical wasn’t a one-hit record at all – if anything, they hold up better than the big hit. There is some filler here – none of her records were free from that curse – but it’s well-made filler and helps make Physical one of the most enjoyable albums of her career.

hraudio | allmusic | discogs

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Title: Olivia Newton-John – Come On Over (1976) [Japanese Limited SHM-SACD 2011]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

Olivia Newton-John’s Come on Over is a 2011 DSD-mastered SHM-SACD reissue, transferred from analog tapes by Masaru Takagi. The album blends country, folk, and pop, featuring Newton-John’s haunting arrangement of “Greensleeves.” Her tenth Top 40 hit, the Bee Gees-penned title track “Come on Over” topped the adult contemporary charts. Country covers like “Blue Eyes Crying in the Rain” and “Jolene” frame the album’s first side. “Pony Ride,” a piano ballad, bridges the album’s Western and pop elements. John Farrar’s understated production elevates Newton-John’s heartfelt vocals, especially on the title track. Despite a solid cover of “The Long and Winding Road,” the title track overshadows other performances. “It’ll Be Me,” a Hank Marvin/John Farrar composition, is a highlight, tied to Newton-John’s Shadows connection. Farrar’s production on tracks like “Small Talk and Pride” and “Wrap Me in Your Arms” is elegant and underrated. Come on Over is a pop classic, showcasing Newton-John’s superstar status and Farrar’s masterful grasp of pop.

hraudio | allmusic | discogs

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