Check out Silvery Rain (Album Version) by Olivia Newton-John on Amazon Music. Stream ad-free or purchase CD's and MP3s now on liehageludedownfumetheamegilern.coinfo From the Album Physical out of 5 stars 2 ratings. Listen Now Olivia Newton-John. out of 5 stars 6. $ Jolene Olivia Newton-John. out of 5 stars 4. $ Xanadu [feat. Electric Light 5/5(2). Sep 30, · Label: EMI - 3C • Format: Vinyl LP, Album Gatefold • Country: Italy • Genre: Electronic, Rock • Style: Downtempo, Pop Rock, Synth-pop Silvery Rain Written-By – Hank Marvin: B3: Carried Away Written-By – Albhy Galuten, Barry Gibb: B4: ℗ Original sound recordings made by Olivia Newton-John Made in /5(11). View credits, reviews, tracks and shop for the Vinyl release of Physical on Discogs. Label: EMI International - BOLP - • Format: Vinyl LP, Album • Country: Bolivia • Genre: Electronic, Pop • .
She's never looked like that before. Grease ignited a white-hot streak of hits for Newton-John. Taking a cue from the chart-topping success of "You're the One That I Want", Newton-John's next solo project, Silvery Rain - Olivia Newton-John - Physical (Vinyl, Totally Hotwould blend more rock-based ingredients into the mix. Tom Snow would be a crucial force behind Totally Hot. Earlier in the decade, he'd released a pair of solo albums on Capitol Records before becoming a staff writer for Richard Perry's publishing company, co-writing hits for artists like Diana Ross "Gettin' Ready for Love" and Leo Sayer "Thunder in My Heart".
The industry's top producers took notice. He's very accomplished, musically. It might have been Kathleen Perry who sent it over to John Farrar. He loved the song for Olivia. In fact, that was the kind of song they were trying to write and collect for her. They were trying to spice up her image and get her out of the country girl wearing the flowery dress into the hot chick in the leather.
Featuring Snow on piano, "Deeper Than the Night" seduced listeners with a dusky, uptempo groove. Snow continues, "John and I hit it off and started writing songs together. I went over to his house. I sat in his writing room. He was in the middle of writing [sings] "You have to believe we are magic'.
He had the demo going with him singing it. My jaw dropped. I said, 'My God, this guy's amazing at his craft! Beginning with XanaduDavid J. Holman's home studio headquartered Farrar's productions and incubated some of the era's most innovative sounds.
I was more comfortable and able just to develop the ideas without any sort of interference. Sometimes when you're recording, people come in and make comments. Even though you tell yourself it doesn't matter what they think, it definitely gets to you and possibly influences you. Nothing but pure genius influenced "Magic", which translated the mythological musings of Xanadu into vivid musical language.
Holman recalls, "We worked on 'Magic' for five weeks. It was conceptualized in the studio. John and I are both very detail-oriented when it comes to recording. We spent seven days getting the guitar sound. I'm talking about seven full days.
We got up as early as we could and worked until we couldn't work anymore. It was monumental, that guitar sound. Farrar turned Newton-John's voice into ripples of shimmering light on "Magic", one of his finest hours with the singer.
The song spent four weeks at number one in Augustearning a gold single and heralding the arrival of Newton-John's Xanadu -based duets with Electric Light Orchestra "Xanadu" and Cliff Richard "Suddenly" on the Hot Olivia Newton-John greeted the s as one of pop's reigning queens.
Her marquee value equaled platinum-selling hitmakers like Donna Summer, Diana Ross, and Barbra Streisand, who each ushered in the new decade with albums that recalibrated their sound.
Newton-John's work on the Xanadu soundtrack, Summer's new wave excursions on The Wandererthe CHIC Organization's production of dianaand Streisand's collaboration with Barry Gibb on Guilty led with stylish and impeccably produced releases. Earlier that year, the team had also helmed Andy Gibb's duets with Newton-John for his third solo album, After Dark She was on. I was stricken! I think we may have done some of the vocals with Barry singing with Olivia because there was a lot of struggle getting a vocal out of Andy.
The team also offered Streisand a breezy ballad called "Carried Away". Though Streisand passed on "Carried Away"Newton-John recorded the song for her first full-length set of the s — Physical. He's always been a hero of mine from way back when the Bee Gees first started, and I was in Australia. I met him a few times over the years, and he's just the sweetest guy. Retaining the integrity of Gibb's original demo, "Carried Away" glistened with Newton-John's radiant interpretation.
I have a tremendous amount of respect for him. The thing with 'Carried Away' is that it seems so straight ahead. It's not your average time signature, but it doesn't seem so unusual because the melody leads you there. It's not like you have to count. It seems totally natural. In between scoring songs for XanaduFarrar had also begun writing and recording his solo debut for Columbia, John Farrar Cashbox drew favorable comparisons to the Bee Gees and Kenny Loggins upon the release of the album's lead single "Reckless" in Novemberchampioning the tune's "lilting electric piano melody" and "distinctive instrumental touch".
However, the quiet hush of "Falling" emerged as a sleeper cut on Farrar's debut. It's three verses and a middle. I was worried that the bridge chords were a bit out there, but it seemed to work okay.
I remember I couldn't come up with an intro and I finally came up with an intro one night. At the end of the intro, when it went into the verse, I wanted it to feel like it was kind of in a different key, or not where you expected it to be. It took me awhile to come up with that. Newton-John's own rendition of "Falling" floated in weightless splendor. I made sure that her headphones were perfectly balanced and that her voice was right in the middle of her head.
I used a compressor as a volume control and also, obviously, as a compressor. I'd have it in my lap and ride her vocals continuously from the beginning of the song to the end of the song. Farrar's opening guitar Silvery Rain - Olivia Newton-John - Physical (Vinyl "Recovery" immediately commanded attention.
You had to really struggle to come up with different sounds. David was great because if I ever said to him, 'Can we try this? He did a really good job with the mixing and the recording and everything. Lots of credit goes to him on that. Marimba flourishes complemented the island setting of the lyrics, a key detail that distinguishes Newton-John's version of "Recovery" from Farrar's original recording.
As a co-writer with John, you never felt like you were fighting against some kind of insecure ego. He was absolutely one of my favorite collaborators in that sense. Farrar and Snow led each other to new heights with "Make a Move On Me", arguably the duo's crowning achievement as collaborators.
Tom came up with that synth part that was great. It was amazing. There are very few pop songs that have that kind of harmonic structure to it. I thought we did a hell of a good job on that one. I came up with the bass line. John loved it and had me play it. He said, 'Let's make a loop!
We didn't have sequencers at that point. John would say, 'Do it again Tom. It's almost there. I think we made a four-bar loop. David cut the loop and then edited it into other parts of the tune.
Sonically, "Make a Move on Me" is a shining paragon of synthesized sounds. The Prophet-5 synthesizer, in particular, polished the song with a warm, high-tech gloss. LP Oberheim was kind of cool but the Prophet fit so well into the recordings and it was just a fabulous instrument. It looked really sexy. Newton-John only amplified the sexiness of "Make a Move on Me" as her voice conveyed everything from simmering desire to unmitigated euphoria. However, the sex quotient on Physical climaxed in the title track.
Long before "Physical" became a phenomenon, Kipner had been acquainted with Newton-John, plus Farrar and his future wife Pat Carroll, when they performed in different groups around Melbourne and Victoria during the s. John was in a band called the Strangers. He was a little bit older than me, so I thought of them as a real band whereas my band, today, would be considered a punk band. I remember thinking, That guy is the real deal. He continues, "A lot of Australian singers were here in LA and everybody kind of knew all the others.
I didn't have much money. I was pretty much starving. That means that I can get to eat! I would always be first in line for the buffet. Kipner's own fortunes changed while recording his Elektra debut Knock the Walls Down During the session, Graydon invited Kipner to write a few songs for another project he was producing, Alan Sorrenti's L.
Attaining more success with one song than his own solo album, Kipner realized that writing for other artists promised greater commercial potential. I didn't think it would be called 'Physical'. We were going to write a song about sex, basically. I did the demo on a little four-track Teac. I used 'Rock 1'. After cutting the vocal, Kipner played "Physical" for his friend and manager Roger Davies.
Lee Kramer also managed Mr. I think Lee heard the song through the walls. He didn't necessarily think that 'Physical' was a hit song, but he thought that if Olivia recorded it then he could also put Mr. Universe on the album cover with Olivia! She came into the office that afternoon and I guess that's when they played the demo for her.
Universe was scarcely needed at all. Even in demo form, "Physical" was an undeniable hit. I stuck close to that. There's a distorted guitar that's pulsing in there. I had this old Roland drum machine, and we used that to gate an electric guitar and get that pulse. Farrar enlisted a stellar cast of musicians including Toto bassist David Hungate, Carlos Vega drumsLenny Castro percussionBill Cuomo Prophetand Gary Herbig horns to embellish the song's crisp, streamlined groove. Hungate's bandmate Steve Lukather laid down a searing guitar solo.
Holman recalls, "I think John was fooling around with a solo and he said, 'Nah, I should really bring in Steve' … and that's Steve Lukather. I was talking to Steve weeks before about something, and he was all excited about this new guitar that had the Floyd Rose Bridge. I don't remember what kind of guitar it was — might have been a Fender Strat — but the Bridge was what was unique. I had a Princeton amp, which I still have, sitting there with a microphone on it right next to the couch where John was working.
I remember it was a really hot day. Steve came flying in. He goes, 'I finally got this guitar. Check this out man! He played the guitar solo and that was the guitar solo for 'Physical'. That was it. I could see him stretching the notes but I remember thinking, Damn, it's pretty amazing that the guitar's still in tune. It's a testament to the talent of the people involved that a guy could walk in off the street, plug in a guitar, and play that guitar solo without ever having heard the song.
It just came from the spirit of his talent. In just five syllables — "let's get physical" — Olivia Newton-John captured the tune's contagious appeal. The steamier aspects of the verses, considerably tame by 21st century standards, took the singer from "totally hot" to a more "horizontal" kind of heat. Even during the final playback, she looked at me and said, 'Do you think I can get away with this? While both the title track and "Make a Move on Me" would pilot the album to double platinum certification, "Stranger's Touch" kept Physical spinning under the stylus from start to finish.
Songwriting is like ping-pong. Someone says a line or an emotion, and then the other person hits it back to you with another suggestion. Farrar continues, "I remember a little bit about that. I think I went up to Steve's house one morning.
We started 'Stranger's Touch' there and then finished it at my place. We've known each other for so long, we spent most of the time laughing! Newton-John contoured the melody with a smooth and sultry style. The chorus spotlighted her more strident approach, reflecting both the torrid scenario of the lyrics and Farrar's rock-tinged production.
Just by shouting "he's overpowering me", she brought the track to a feverish standstill. He'd work on the parts and hone them.
It wasn't a part along with Olivia, it was a part that supported Olivia. That's what I really appreciate from him and probably one of the greatest lessons that I learned from Farrar.
I remember going to a show. They somehow got a copy of the Beatles' Sgt. They played the whole album as a band.
A few years after Britten scored a major hit as a co-writer on Cliff Richard's "Devil Woman", he'd contribute one of Physical 's more bracing cuts. It was intended for Kristy to sing. John was in touch with the producer, I'm not sure how, maybe as an advisor. I was delighted of course, so I wrote another song on set called 'Hold On' to take its place. Of the songs on Physical"Silvery Rain" had the deepest roots, dating back to Farrar's early years in England. Senator Gaylord Nelson founded Earth Day, the song offered a sobering look at the toxic effects of pesticides.
A decade after the trio's original recording, plus original Shadows frontman Cliff Richard's own version on Columbia, Farrar recast "Silvery Rain" for Physical. She's very much an environmentalist, so that song was perfect for her view of life. Farrar masterfully modernized Marvin's tune for the s, juxtaposing the brightness of his guitar and the crystalline tone of Newton-John's voice with a bass line that evoked a foreboding atmosphere.
Elsewhere, Holman and Bill Cuomo simulated a crop duster that careened from the verse into the chorus. With guitars raging, Newton-John shouted "Fly away Peter, fly away Paul, before there's nothing left to fly at all", her urgent plea piercing the discord. No less a cultural arbiter than The New York Times praised Farrar's work on the track, noting how "his arrangement achieves a gossamer translucence that one rarely hears on a pop album" 17 January Inshe'd canceled a tour of Japan after learning that fishermen were slaying dolphins off Iki Island.
She later re-instated the tour when the Japanese government agreed to curb the practice. Featuring one of the most tender, heartfelt vocals of the singer's career, "The Promise" raised awareness about the mistreatment of dolphins, especially by the commercial fishing industry. I kept it very sort of simple and gentle. It was very expensive at the time and a beautiful piece of machinery. John and I took some microphones and went down to the beach late one night.
It was a silvery moon so we didn't need lights or anything. We recorded the ocean for hours. Farrar introduced the song's wistful melody, employing a unique, aqueous sound to his strumming. What you're hearing is the ocean in the background, and then you're hearing that ocean also affect what the guitar sounds like.
It all starts gluing together and becomes one piece. The album's opening track, however, packed a punch seldom glimpsed on her records. The song itself marked a detour from Farrar's typical writing process. I had a keyboard hooked up with a vocoder and developed the song through that. Farrar excelled in fashioning a cutting-edge track for Newton-John.
She quelled the song's explosive introduction, bringing an equanimity to the first line, "Cold winds rarely blow, here at the end of the rainbow". Throughout the track, Newton-John deftly drew upon a variety vocal gestures to navigate the song's swirl of sounds. From the angelic harmonies that waft through the bridge to the tune's hair-raising denouement, "Landslide" unveiled a newly invigorated singer, ready to rock.
Recorded and mixed at Ocean Way and David J. Holman's studio in Los AngelesCaliforniaPhysical became one of Newton-John's most controversial and sexual records, and her most successful studio album to date. Musically, the album features considerable use of synthesizers and it explores lyrical themes such as love and relationshipssex, kinesthetics and environmental protection.
Upon its release, the album received positive reviews from music criticsmany of them considering it to be Newton-John's best effort. The album charted high in several countries, including the United StatesJapan and Newton-John's native Australiabecoming one of the most successful albums of the early s.
It also ranks among the best-selling albums by Australian solo artists, selling more than ten million copies worldwide. The album's title track was a commercial phenomenon, staying 10 weeks atop the Billboard Hotat the time tying the record set by Debby Boone 's single " You Light Up My Life ". The song and its music video were controversial, having been banned or edited by several radio stations and television channels such as MTV for its sexual references. The single was followed by " Make a Move on Me ", another top-ten worldwide hit.
A video compilation, Olivia Physicalwas produced, featuring music videos of all songs from the album. The album was promoted with Newton-John's North American Physical Tourperformances from which a home video entitled Olivia in Concert was produced.
The Physical era marked the height of Newton-John's solo career, gaining her wide acclaim as one of the most successful female artists of the early s. InNewton-John starred as the female lead, "Sandy", in the musical film Greasewhich was a worldwide blockbuster and had a best-selling soundtrack. Before the film, Newton-John was known for country pop and adult contemporary songs.
Following the huge success of Greaseand inspired by her character's transformation from goody-goody "Sandy 1" to the sexy, spandex-clad "Sandy 2", she traded her previous musical styles for a sexier and more aggressive pop image. Later that same year, Newton-John released the studio album Totally Hotand two years later, the Xanadu soundtrackboth with a more pop-oriented style than in her past albums. Newton-John feared that she could be overexposed with many works released in a short period.
Physical followed Newton-John's new image, perceived as a more sexualized and mature record. It also marked her first studio album without any country tracks. The new music style generated some criticism from the country-music community and Newton-John's old fans. In a Billboard article, she said: "You might lose a few fans but you gain others. You have to do what's comfortable. The lead single "Physical" originally "Let's Get Physical" was written by Terry Shaddick and Newton-John's longtime friend Steve Kipnerand initially was intended for a "macho male rock figure like Rod Stewart ", according to Kipner.
When Newton-John's then-manager Lee Kramer accidentally heard the demohe immediately sent the song to her, but initially she didn't want to release the song because it was "too cheeky". The songs "Recovery" and "Falling" had been originally featured on John Farrar's self-titled solo album, but were later remodeled for Physical. Physical was the first Newton-John album to include environmentalism and animal rights themes.
Physical ' s nature- and sensuality-themed photos were shot primarily in Honolulu, Hawaii by the famous American photographer Herb Ritts in the first half of The album's cover ranks among the most popular and iconic photos of Newton-John, and as one of Ritts' most popular works. Physical is among Newton-John's most diverse albums, and set her career in a totally different direction. The album was completely produced by Newton-John's longtime collaborator John Farrar,  who did a then-modern music production, which later became a musical trend during the s.
The songs feature mainly a pop rock sound,  with Newton-John singing more high notes than usual during her country pop era.
The album contains widespread use of synthesizerswhich made it one of Newton-John's most dance-pop -oriented recordings, especially on the songs "Landslide" and "Physical". The songs "Carried Away" and "Falling" have a more soft rock sound than Newton-John's past ballads, because of the more extensive use of guitars and synthesizers. Lyrically, Physical explores themes relating to the behavior of humans and their relationship with the world around. The songs "Falling" and "Landslide" tell about falling in love and love at first sight.
The lyrics of "The Promise The Dolphin Song " deal with the killing of dolphins for commercial gain, with sounds of the marine mammal in the background. The songs "Physical" and "Make a Move on Me" have more sexualized lyrics, with some suggestive innuendos.
Each song from Physical has its respective music video. All the music videos were filmed from the Physical video album, which was directed by Brian Grant. The songs " Hopelessly Devoted to You ", " A Little More Love " and " Magic " Newton-John hit singles from the soundtrack Greasethe studio album of the same year, Totally Hotand the soundtrack Xanadurespectively also had new music videos filmed from the video album. Newton-John's then-boyfriend now ex-husband Matt Lattanzi participated for the "Landslide" music video.
The television version has little differences from the home video version. The television version features video interludes starring Olivia, introducing some music videos, and the home video version features the music videos for "Love Make Me Strong" and "Falling".
The video was a critical and commercial success, being a Billboard top charting music video for many weeks in earning a Grammy Award for Video of the Year and a nomination for an Emmy Award for Outstanding Art Direction for a Variety or Music Program. The album promotion was made throughout —82, and included several appearances across the world. Newton-John also made performances and interviews to television programs in Japan,  Brazil,  South Africa which was controversial because some verses of "Physical" were banned in the country Venezuela  and several countries of Europe.
In Canada, the album was promoted in Vic Tanny 's health clubswhich offered Physical -thematized club passes and discounts on the album purchase in Capitol-EMI 's Mr. Sound stores. It was the largest permanence at the time, becoming the most successful song on the Billboard in the s. The song is one of more dance singles released by Newton-John and also was very well received by music critics, particularly in Sweden, where it was a number-one single.
It does reach high positions in the music charts across the world, but archived a top 20 on the UK Singles Charts where was the second single, and "Make a Move on Me" the third and last single. The tour was announced in July and began in August of the same year. Jazz musician Tom Scott was the musical director and also served as opening act. The show consisted of four costume changes and three videos: for introduction, interlude and end credits.
The encore consisted of the title song "Physical" with Newton-John doing aerobic exercises and jumping rope through the performance and " I Honestly Love You ". The tour had generally positive reviews from critics, who praised Newton-John vocal performances and her ability to entertain the audience. Two concerts in Ogden, Utah the state where "Physical" was banned by two local radio stations  were filmed for a television special titled as Olivia: Live in Concert and a home video release, as Olivia in Concert.
Physical received generally positive reviews from music critics, many stating that was the best album by Newton-John at the time. He further explained "[The album] skillfully balances catchy yet mellow dance cuts with immaculately crafted adult contemporary pop and ballads".
Holse also contemplated the Farrar's production, calling "a dazzling pop-rock bubblegum production". The Physical era received three Grammy Award nominations. In the United States, Physical debuted at number sixty-eight and peaked at number six on the Billboardmaking it the sixth album by Newton-John to reach the top 10 on this chart and the last, to date. For his work with Newton-John, John Farrar was the pop producer of the year. Newton-John was one of the LP artists to invest in music videos.
The album Totally Hot was her first one to feature videos accompanying all the singles from the album, but they were very simple, being primarily composed of Newton-John singing in the studio. The music videos of the songs of Physical are more complex, and were one of the firsts to present a plot line, and not just a video of the artist performing the song.
According with Olivia Physical video album Album), Brian Grant, Newton-John record company and management were reluctant about the project at the first moment: "I suppose there was a little nervousness at first. But, [Olivia] got us out here because she liked what we had done [ I got to be a different personality and play an other side of myself.
The record company also was afraid of the public and media feedback about the themes featured on Olivia Physicalespecially these included in the music video made for the title track. The music video of "Physical" is considered very innovative, with a simple, but cohesive plot, and several sexual innuendos including homosexual contexts which also are featured in the song. According to a station's program manager "The lyrics are more suggestive than most songs.
It goes the one additional step". Several adult contemporary radios many with mormon affiliations  across the North America also banned the single, causing a lower peak at number twenty-nine on the U. Adult Contemporary chart. Newton-John usually has a large audience on the adult contemporary radios she has eight 1's on the U. AC chartbut the loss was rewarded with the massive audience that "Physical" had on the pop radios, which are listened by a more younger audience.
Later she recovered the adult contemporary audience with the next single, "Make a Move on Me", which peaked at six on the U. AC chart. MTV originally cut the music video ending, because "the beefcakes surrounding Newton-John turned out to be gay". According to Billboardthe "committee of moral" of South Africa under apartheid had always employed a policy of restricting airplay on certain material considered "offensive".
Physical Written-By – Steve Kipner, Terry Shaddick: B2: Silvery Rain Written-By – Hank Marvin: B3: Carried Away Written-By – Alby Galuten*, Barry Gibb: B4: Recovery Written-By – John Farrar, Tom Snow: B5: The Promise (The Dolphin Song) Written-By – Olivia Newton-John: /5(21). View credits, reviews, tracks and shop for the Gatefold sleeve Vinyl release of Physical on Discogs. Label: EMI - 33C ,EMI - SLEM • Format: Vinyl LP, Album Gatefold sleeve • Country: Mexico • Genre: Electronic, Rock • Style: Downtempo, Pop Rock, Synth-pop/5(6). "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.
View credits, reviews, tracks and shop for the Gatefold sleeve Vinyl release of Physical on Discogs. Label: EMI - 33C ,EMI - SLEM • Format: Vinyl LP, Album Gatefold sleeve • Country: Mexico • Genre: Electronic, Rock • Style: Downtempo, Pop Rock, Synth-pop/5(6).
View credits, reviews, tracks and shop for the Gatefold Vinyl release of Physical on Discogs. Label: MCA Records - MCA • Format: Vinyl LP, Album Gatefold • Country: US • Genre: Electronic, Rock • Style: Pop Rock, Synth-pop. Physical is the twelfth studio album by English-born Australian singer Olivia Newton-John, released on 13 October , by MCA Records. The album was produced and partly written by her long-time record producer John Farrar.
Watch the video for Silvery Rain from Olivia Newton-John's Physical for free, and see the artwork, lyrics and similar artists. Watch the video for Silvery Rain from Olivia Newton-John's Physical for free, and see the artwork, lyrics and similar artists. From The Album. Play album Physical. Olivia Newton-John.
Physical is one of Olivia's finest albums - she is exuberantly happy on this and why not - she had met her husband to be, she was in love - and sang joyfully. The single 'Physical' was a smash hit, standing at no 1 in the US singles charts for ten weeks - joint second in the all time longest #1 runs. Dec 20, · This content was made public based on permissions set up in ContentID by the copyright owner or other company on their behalf. ContentID allows companies holding a large number of copyright.
Aug 31, · 50+ videos Play all Mix - Olivia Newton-John - Silvery Rain YouTube; Olivia Newton-John - Carried Away - Duration: 10 videos Play all Physical - Full Album.
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