Soul Kiss album reviews
Olivia - from ballads to dance, Soul Kiss
Undoubtedly the most striking career change in recent pop music history was Olivia Newton John’s shift from adult contemporary ballads to modern dance-pop in the late Seventies. Now acclaimed as the world’s sexiest mother-to-be, the blonde singer-actress has retreated from the busy world of Hollywood and is in temporary retirement until the birth of her first child next February.
In addition to preparing for the arrival of her baby, Newton John has also expanded on the change in image and musical direction that yielded the hit singles “Physical,” “Make a Move on Me” and “Twist of Fate,” by making a promotional video for her new single “Soul Kiss” in which she shows off her legs and other charms in a parody of classic movie love scenes. In the hottest scene, she appears in a Marilyn Monroe wig in a bubble bath filled with champagne, and pulls husband Matt Lattanzi into the tub with her!
But the shy Australian superstar is candid about the fact that her move away from ballads was basically a concession to pop radio and young, dance conscious record-buyers. However, her new album, entitled Soul Kiss, also includes the more ballad-oriented songs, “Emotional Tangle” and “Toughen Up” (written by the team of Terry Britten and Graham Lyle who wrote Tina Turner’s comeback smash What’s Love Got To Do With It”).
People magazine, US
Olivia convinced everyone with her 1981 album Physical that she was aware of sex. Recent events in her personal life would seem to have sufficiently reaffirmed that awareness. So why this exercise in super sleaze, which runs from the kink of the jacket photograph through the tune Culture Shock, which seems to be a musical tribute to menages a trois? Overnight Observation is about a doctor trying to seduce a woman patient. You Were Great, How Was I?, an otherwise appealing duet with Beach Boy Carl Wilson backed by producer John Farrar’s version of B.B. harmonies, tries to play on its title, without a smattering of wit.
In the title tune, Olivia wails on about getting down on her knees and sighs passionately. So curious is this preoccupation with the details of mating that it detracts mightily from the musical aspects of the LP.
Farrar and Newton-John have developed a distinctive style for her that carries over across country-pop-rock boundary lines. There’s still that almost eerie combination of her cool, frail voice (now mixed with occasional snarls that are apparently supposed to be sexy) and the hypnotic riffs of his synthesizers. As the clever Physical proved, there’s a dry ice kind of heat to Newton-John’s music that stands on its own; there’s no need for all the blatant tarting up.
If Olivia’s career keeps going this way, just about the only thing she will be able to do next is record an album of duets with Dr. Ruth. (MCA) By Ralph Novak
Unknown, UK
Soul Kiss (Mercury). The thought of Olivia Newton-John slobbering all over your wellies is an attractive one but inappropriate. For this is the soul that burns south of your shoulders and east of your elbow - a much nicer place to be kissed.
Not many know this but ON-J is the white Diana Ross. Quite capable of being slinky and sexy or twee as a dickie bird. Here it’s the former. A bit too gooey maybe but she does sing awfully tweet.
Smash Hits, UK magazine
Soul Kiss (Festival). Having liked the title track of Livvy’s new waxing I thought the LP would offer more of the same, but it turns out to be rather boring, with each song just blending into the last one.
Of course it comes complete with the usual heavy breathing, sighing, raunchy approach Olivia has adopted but I wish she’d stop trying to emulate Madonna and stick to her own thing - which she does so well.
If you’re still tempted - and have some cash to splurge - go ahead, but the silence between the tracks is much better value! (2 out of 10)