Olivia Ong is a Singaporean singer who found success in Japan with English-language renditions of bossa nova classics.
Austin-to-L.A. transplants the Textones were one of the few post-new wave "roots rock" bands of the mid-'80s to deserve the appellation. (Unfortunately, they're mostly remembered, if at all, only as the band Kathy Valentine left to join the Go-Go's.) Unlike the terribly overrated Lone Justice or the beer salesmen in the Long Ryders or the Del Fuegos, Carla Olson and company came off like a punkier version of the Gram Parsons-era Byrds, with a poppy edge on unexpected covers like the Searchers' "Silver" and Neil Sedaka's "Keep a Walkin'."
Gene Clark was one of the most gifted singers and songwriters of his generation, but bad luck and self-destructive habits followed him like a shadow, and it seemed sadly appropriate that he died in the spring of 1991 as he was working on a follow-up to the biggest success of his solo career, So Rebellious a Lover, his 1987 collaboration with Carla Olson of the Textones. Clark's poor health (aggravated by drinking) and fear of flying prevented a full-scale tour in support of So Rebellious a Lover, but he played scattered live dates after its release, and In Concert gathers recordings from shows Clark gave in late 1988 and early 1990.
The musical reconstructions industry keeps gathering pace, but few works have attracted as much attention as Mahler's 10th Symphony. Joe Wheeler (who died in 1977) was a brass-playing British civil servant with a passion for Mahler. This completion (itself in an edition by the conductor here, Robert Olson) uses the leaner orchestration of the composer's later years. But does it sound Mahlerian? Certainly more so than Remo Mazzetti's 1997 version, but neither caps Deryck Cooke's acute sense of authentic detail and color in his legendary edition.
40/40: The Best Selection is a comprehensive double-disc career overview of Olivia Newton-John designed to celebrate her four decades in show business. Yes, the compilation runs 40 tracks, but this is not designed to showcase each era of Olivia's career in equal measure. Perhaps there are a few more latter-day cuts than most audiences would know, and maybe there are a few more early tracks than needed, but all the big hits are here, from the early mellow country-rock to the slick soft rock and melodic disco of the turn of the '80s. Compared to the U.S. compilation Gold, this isn't quite as good - there's too much of the two bookends of a long career - but it does have what most casual audiences require: all the hits, all sounding as good as they ever have.
"Let Me Be There" is a 1973 album by Olivia Newton-John. The American publication of this 1973 album by MCA Records used the cover art from Olivia's 1972 LP record "Olivia" which was not released by MCA. Some of its songs were taken for the U.S. publication, such as song titles from the British publications of the albums "If Not for You" and "Olivia". Though the title song was a commercial failure in England, it was Olivia Newton-John's first American Top Ten hit, successfully boosting her singing career in North America. She had previously charted in the Billboard Top 40 with the song "If Not for You".
Olivia Newton-John's Greatest Hits (1977) was the first compilation album released by Olivia Newton-John in the United States. (In some other regions, Newton-John released a 1974 compilation, First Impressions. This album was therefore marketed instead as Greatest Hits Vol. 2 and featured a different track listing.) The album collected all of Newton-John's American Top 40 singles released between 1971 and 1977. "Changes" was the only track not released as a single, but it was one of Newton-John's first self-written songs that she recorded. The album was Newton-John's first platinum certification peaking No. 13 Pop and No. 7 Country. It ended up being certified double Platinum in the US and Gold in the UK and in Hong Kong.
Female spoken word artists have become the spokeswomen for a new generation. This demanding oral poetry of the early 21st century has defined a vanguard of lithely muscled voices; women who think and act decisively to create their distinctive and desperately earned realities. …