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You're the One That I Want

song written and composed by John Farrar, originally recorded by John Travolta and Olivia Newton-John in 1978

Manuscripts, fine bindings, an engraving plate and preserved performance ephemera
Arts and lettersInterpretive dossier study · Crown Archives visual atlas
Record originEnglish Wikipedia
Text licenseCC BY-SA 4.0
Source revisionAug 2, 2026
Entity authorityQ1281313 ↗
Source-derived summary

"You're the One That I Want," is a song performed by American actor and singer John Travolta and Anglo-Australian singer and actress Olivia Newton-John for the 1978 film version of the musical Grease. It was written and produced by John Farrar and released in 1978 by RSO Records as the second single from Grease: The Original Soundtrack from the Motion Picture. The song is one of the best-selling singles in history to date, having sold over 4 million copies in the United States and the United Kingdom alone with estimates of more than 15 million copies sold overall.

Background

"You're the One That I Want" was one of the two singles, along with "Hopelessly Devoted to You," that Farrar wrote specifically for Newton-John's appearance in the film that had not been in the original stage musical. Randal Kleiser, the film's director, was not fond of this song because he felt that it did not mesh well with the rest of the Warren Casey-Jim Jacobs score and the fifties style musically or lyrically.

Record World called it "a frantic, up-tempo duet between the two stars that is bound to leave listeners breathless."

Synopsis

Danny Zuko (Travolta), leader of the T-Birds, has recently lettered in cross-country running in an effort to win back his estranged girlfriend Sandy Olsson (Newton-John); unbeknownst to him, Sandy, who has been conflicted about her upright and proper etiquette in a school full of brash greasers, has herself transformed into a greaser queen to win back Danny. In the song, Danny expresses pleasant shock and arousal at Sandy's transformation, with Sandy responding that Danny must "shape up" to prove himself capable of treating her the right way.

The song originally written at this point in the original musical, "All Choked Up" (which had previously replaced a song titled "Kiss It"), was similar in theme, but different in style, written as a pastiche of Elvis Presley's "All Shook Up" and with Sandy being more provocative. "All Choked Up" was one of two songs from the Jacobs/Casey score that was excised completely from both the film and the film's soundtrack. Most 21st-century performances of the musical also include "You're the One That I Want" instead of "All Choked Up".

Editorial summary

“You're the One That I Want” enters the record as song written and composed by John Farrar, originally recorded by John Travolta and Olivia Newton-John in 1978. Crown Archives preserves that source wording while asking what You're, Want and song can confirm, complicate or overturn.

Editorial reviewA useful identification and reception guide that helps separate the work itself from editions, performances, ownership and later interpretation. The current lead gives the account dated anchors—1978—that can be checked directly. The linked authority record independently contributes the date 1978-05-17. Its strongest next move is a source search built around You're, Want and song.
Editorial analysis

Why this record matters

“You're the One That I Want” is worth following because a concise public description often conceals a longer documentary argument. Here, You're, Want and song provides the most credible route into that argument.

Evidence profile

Object files, edition statements, performance records and contemporary criticism preserve different stages of the work’s history. The source revision retrieved here is dated Aug 2, 2026. The linked authority identifier is Q1281313. 1 of 1 selected statements include explicit references; 0 carry qualifiers and 0 use preferred rank. The first chronological checks are 1978.

Critical limits

Later fame can flatten the distinction between original context, subsequent adaptation and institutional collecting history. The lead is largely declarative, so disagreement and counter-evidence require a deliberate search beyond the opening account. Authority statements aid reconciliation but still require their own references, qualifiers and ranks to be checked.

How to read it

Separate the work, its editions or performances, and its later reception. Catalogue records, publication histories and object files often preserve different parts of that story.

Best used for
  • Identifying works and editions
  • Tracing reception history
  • Finding collection records
Verify next

The original object or edition, catalogue raisonné, performance record, rights file and holding institution.

Three-step research path

  1. Establish the record: confirm the title “You're the One That I Want”, its source revision and the description used here.
  2. Expand the search: follow You're the One That I Want primary sources, You're the One That I Want archive and You're research across catalogues and specialist indexes.
  3. Test the account: compare the strongest cited source with the responsible institution’s current record and note any disagreement.

Questions for further research

  1. Which source most directly establishes the central claim about “You're the One That I Want”?
  2. Which edition, object, performance or recording is being described?
  3. How did later circulation or interpretation alter the work’s reception?
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Source & attribution

This entry incorporates text from “You're the One That I Want” on English Wikipedia. Contributors are listed in the page history. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License. Selected authority identifiers and statements are retrieved from Wikidata under CC0; their references and qualifiers remain part of the verification path.