Olivia's The Rumour not juicy
Olivia Newton-John The Rumour, MCA Records
Olivia Newton-John might be better off gossiping some place else instead of spreading a nasty “Rumour” like this album.
Newton-John is known for her wimpy pop sensibility, and flagrantly flaunts it in the title cut, “The Rumour.”
Remnants of her boppier mid-70s releases abound, especially fragments that sound like they might have come from the “Grease” or “Xanadu” soundtracks.
“The Rumour” was written by Elton John and Bernie Taupin, and John is one of the back-up vocalists in the song. But Newton-John just doesn’t have his panache. Even Elton John might not have the panache to carry this turkey off.
But like George Michael, Newton-John tries to cover her white bread past with something she thinks is funky and gritty. The next cut, “Love and Let Live,” is a preaching, moralizing piece about how terrible the AIDS threat is. “We’ve got to tell lovers/ How to love and let live,” she sings, but then she adds, “I found the one for me/ We share our love exclusively.”
So she’s found freedom from the Acquired immune Deficiency Syndrome, and it’s her duty to warn others.
Yet another pop hurrah for monogamy: ‘Can’t We Talk it Over in Bed” also appears on Grayson Hugh’s album, “Blind to Reason” under the name of “Talk it Over.”
Ever the virginal Sandy from “Grease,” Newton-John thinks a few words and a little makeup will transform her from a priss to a sleazeball. Unfortunately, she’s like diet syrup. Her voice is dripping with sweetness, but she lacks real substance or energy.
In “Let’s Talk About Tomorrow,” Newton-John tries to save the planet for her children with a song that combines New Age, disco, and a touch from “Age of Aquarius”.
But, if the listener can make it past these immensely annoying, slickly commercialized pop ditzies, Newton-John becomes a little more palatable.
In “It’s Not Heaven,” she sings nicely. The song sounds real, like Newton-John finally knows what she’s talking about as she tries to reconcile her daughter to her divorce.
In the next song, “Get Out,” Newton-John is bearable as she deals with role-reversal. The story is that her husband has been laid off, and he’s grouchy as she goes out to fend for the family. “Get out — if you can’t take the heat/ Throw your dirty looks out with the garbage.”
Somehow, Newton-John seems to be able to handle domestic crisis better than world crisis, especially when she’s writing with Randy Goodrum.
“Big and Strong,” has some third world rhythms. Newton-John also drops particles like “the,” maybe to sound more “worldly” and reggae. For the most part, these exotic flairs are woven into the pop song well.
“Car Games” is a nice, slick slow song. Somewhat reminiscent of Sade, Newton-John uses whispers, low register of voice, and a leisurely pace. The song is very still, it doesn’t go anywhere and the lyrics don’t make very much sense, but this is the best song of the album. Newton-John is laid back for once, instead of Muzak-bouncy.
“Walk Through Fire” and “Tutta La Vita” are neither convincing, nor do they say anything. However, they aren’t irritating either.
All in all, Newton-John breaks some personal ground, but does it in such a familiar style, nothing is really new.
By Micki Haller, Senior Editor