One". In 1973, Farrar had appeared in the same contest as a backing guitarist and vocalist for Richard's entry, "Power to All Our Friends". The following year he backed and produced Newton-John on her effort, "Long Live Love". From 1971 to 1976, various members of The Shadows were employed as session musicians for Newton-John's early albums, recorded at London's Abbey Road Studios. Aside from Farrar and Welch, they included Brian Bennett, Alan Hawkshaw, Alan Tarney, Dave Richmond, and Trevor Spencer. Some other session musicians were the fellow Australians Kevin Peek and Terry Britten, who had both worked with Richard, and some other musicians. They worked under co-producers Farrar and Welch until midway through Newton-John's second album, Olivia. Thereafter, Farrar was her main producer. He produced her number-one albums, If You Love Me, Let Me Know (1974), Have You Never Been Mellow (1975), and Olivia's Greatest Hits Vol. 2 (1982). Farrar also produced Newton-John's first American number-one hit single, "I Honestly Love You", which was awarded the Grammy Award for Record of the Year in 1975. His last production for Newton-John was her album, Warm and Tender in 1989. In 1974, Farrar used the talk box "SFX unit" on an instrumental track, "No, No, Nina", well before Peter Frampton's 1975 single, "Show Me the Way", which featured the same device. However, Farrar's track was held back from release by EMI until 1997, when it appeared on the CD album, The Shadows at Abbey Road, containing mostly unreleased material. A vocal version of "No, No, Nina" appeared on the Specs Appeal album as a Eurovision contender track, but it was voted sixth out of six initial entries. Aside from instrumentation and vocals, Farrar worked as an arranger on The Shadows' albums: Rockin' with Curly Leads, Specs Appeal, Tasty and Live at the Paris Olympia. Farrar's work with Newton-John embraced a wide range of styles, from "You're the One That I Want" (duet with John Travolta) to "Physical". Farrar's biggest success with Newton-John as a writer-producer came with the film version of the musical, Grease. In 1977, during filming, its producers were replacing some of Jim Jacobs and Warren Casey's pieces from the original score and wanted some more commercial songs, including a solo number for Newton-John, so Farrar wrote and submitted two originals, "Hopelessly Devoted To You" and "You're the One That I Want". Both were accepted, despite strong reservations from director