Olivia Newton-John - Rumour

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Free Music Notes for Rumour

Free Music Review: Olivia talks AIDS, environment, and has a little fun as well
Hit: 5 Stars

Actually I lie. I was aged two at the time and the most I can remember is a lot of soiled pants and temper tantrums.

But nevermind. 1988 was an important year in music. It marked the peak of UK hitmakers Stock / Aitken / Waterman's musical reign, with their horrible drum machines, keyboards, and nasal singers (yes Kylie I'm referencing you) taking over the airwaves. The rest of the music world wasn't too far behind, and it is probably for this reason and this reason alone that Olivia's 'The Rumour' has dated far worse than records such as 'Physical' and 'Totally Hot'. Whilst those two classics have seemingly retained their musical integrity, it will be said that 'The Rumour' is nowhere near the 'so-eighties-my-ears-are-bleeding' dated-ness of 1985's 'Soul Kiss'.

Still, whether a record is musically evocative of a certain period or not is not to disqualify its actual merit. The album is cohesive with a number of particularly strong songs. The title track is an Elton-John-penned and produced dance number which gives Olivia a chance to exercise those big pipes. The chord progression and overall sound is VERY Elton, and I believe this song was actually a big hit in Germany (go figure). 'Can't We Talk It Over In Bed' was the 2nd single in most areas and is a classic Olivia midtempo ballad along the lines of a more melodic and memorable 'I Honestly Love You'.

What's particularly surprising is not the song's themselves (it is a well-known fact Olivia Newton-John produces great pop songs, period) but rather the lyrical content...

'Love And Let Live' is a rocky guitar-and-synth driven warning about AIDS. 'Let's Talk About Tomorrow' is a violin-esque synth and drum commentary on the state of our environment. 'It's Not Heaven' is a gorgeous little song about single parenting, whilst the swinging-come-slightly-cringeworthy 'Get Out' references role reversal and equal opportunity for women in the workforce. 'It's Always Australia For Me' is patriotism at its finest, and 'Big And Strong' appears to be a bitter protest against war and the world's powers (rather pertinent in today's political climate).

It would appear that with this record, Olivia had something to say. No surprise really, considering that she had just become a mother and was becoming increasingly vocal about her concerns for the world. This album is a positive pop platter, from the party tune 'Tutta La Vita' (I adore the lyrics to this one, about the eternal quest for happiness - 'it's not a facelift at forty / or a mansion in Malibu') to the rather haunting saxophone-and-synth 'Car Games' which reminds me a little of 'Recovery' from the 'Physical' record. And for all you audiophiles who love a good Olivia mid-tempo power ballad, 'Walk Through Fire' should be enough to satisfy your appetite.

All too often, an artists' intention in the need to project a message gets lost behind their preachiness. Olivia's 'The Rumour', much like the woman herself, comes off as unobtrusive but honest in the subject matter it addresses. The album as a whole does sound a little dated now, but Olivia's amazing vocals (she sings notes on this record she had never hit before and never has since) and the strong melodies more than compensate. Although this may not be a stellar record like 'Physical', it certainly rates in the Top Five of Olivia's musical escapades over the years.

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