REVIEW: Donna Summer – The Journey

By: Jason Shawhan

 

It was about time for another Donna Summer compilation anyway. Periodically, the hits get remastered and bumped up with a new song or two, and there’s a new way to look at Donna’s collected work. 1979’s On The Radio: Greatest Hits Volume I & II was an innovative, sorta continuously mixed effort that turned her then four year reign over pop and dance music into a cohesive experience. The Dance Collection, from the early eighties, compiled all her extended version takes of some of the big hits (including the epic 17-minute MacArthur Park Suite), as well as spotlighting non-radio faves like Walk Away (which, for some reason, is not considered to be one of her hits anymore, which is a damned shame). The 1993 Donna Summer Anthology is still the definitive compilation of Summer’s work, featuring the hits that are on all of the other comps as well as several album tracks that deserved more attention (Love’s Unkind, There Goes My Baby). 1995’s Endless Summer was almost a single-disc highlights version of the anthology, and the less said about the chintzy 1998 Greatest Hits and 2003 Millennium Collection, the better.

So what does The Journey offer us? First and foremost are the two new songs she recorded with Giorgio Moroder.

“That’s the Way” is kind of sultry and midtempo-ish, but certainly interesting, even recalling aspects of “If You’ve Got, Flaunt It” from 1977’s Once Upon A Time album (still Summer’s best album and the most essential recording she ever made). And then there’s “Dream-A-Lot’s Theme (I Will Live For Love).” It’s fabulous. It is a hands-in-the-air Hi-NRG anthem that demonstrates the throughline from Verdi to Almighty, and it is certainly the finest new Summer track in some time.The rest of the collection is the hits you know and love, mastered impeccably (though space limitations require a few slightly sketchy fades). “Con Te Partiro” appears to be a rerecording (which makes sense, since Sony still owns the original version), and I still don’t understand why “State of Independence” is considered so damned essential. Don’t get me wrong, I love Donna’s work, but I think that particular song was done much better by Chryssie Hynde and Moodswings back in the early nineties.

There’s also a bonus disc of five extended tracks (damned mechanical royalties), two of which are new songs (You’re so Beautiful, a marginal track Donna did with Tony Moran, and a 12″ mix of Dream-a-Lot’s Theme (I Will Live For Love)), two of which (extended versions of Hot Stuff and I Feel Love) have been available on previous compilations, and, with no fanfare, the 12″ PWL Mix of “This Time I Know It’s For Real,” which has NEVER been released on CD in the U.S. As always with mainstream-directed remix selections, there are some favorites that I wish could have been on this disc. The unreleased Trouser Enthusiasts’ mix of “Con Te Partiro” and the full eleven-minute (Whoever actually did the mix for) Junior Vasquez DMC Mix of “Melody of Love” would have nicely replaced the two previously available mixes, and fans would be just a little more excited, I think.

Like I did with the Dead or Alive Greatest Hits record (and because I’m a passive-aggressive music critic), I also want to draw attention to some other material that should be addressed.

Try Me I Know We Can Make It, I Remember Yesterday, Love’s Unkind, Dance Into My Life, Working The Midnight Shift, Queen For A Day, Now I Need You, Sweet Romance, Theme from The Deep, Love Will Always Find You, Walk Away, Our Love, Lucky, Sunset People, Melanie, Highway Runner, Who Do You Think You’re Fooling, Unconditional Love, There Goes My Baby, I Don’t Wanna Get Hurt, Carry On, and Whenever There Is Love.

That’s twenty-two tracks that you rarely see on any of the compilations, and all of them are classics. If Casablanca/Mercury/Universal (and spiritually Atlantic and Geffen) enjoy compiling Donna’s work so often, why not change the mix up a little bit…? It’s incredibly rare to have an artist with that kind of body of work over the course of twenty some-odd years, so why not explore that catalog creatively?

It’s good to have Donna back and making dance anthems with Giorgio Moroder. No, let me rephrase that: It’s great to have Donna back and making dance anthems with Giorgio Moroder. “Dream-a-Lot’s Theme (I Will Live For Love)” ranks up there with “Melanie,” “Working The Midnight Shift,” and “Love Will Always Find You” among the finest work that the Moroder/Summer team have come up with. Here’s hoping for more.

If you don’t have any Donna Summer compilations – *****
If you have all the classics already – ***1/2

Image Courtesy of UTV

REVIEW: Donna Summer with Marc Eliot – Ordinary Girl

by Jason Shawhan
There is no getting around the fact that Donna Summer was the Queen of Disco. From 1975 until 1981, she defined (along with Giorgio Moroder, Pete Bellotte, and Harold Faltermeyer) the sound that the world moved to, winning awards, financial and critical success, and the kind of fame that insured that no matter what path her life might take, Donna Summer was disco and disco was Donna Summer. That analogy is a little reductive, as Donna Summer was also funk, pop, rock, Hi-NRG, electro, and power balladry. Disco, however, was the epithet associated with Donna. But even the most casual of Summer fans knows that this was not an association she was always happy with.

Well, it’s all here. The ongoing conflict between the secular thump-hi-hat-and-clap of dance music and the spiritual calling that had been driving young LaDonna Adrian Gaines from an early age. The highs and lows, though the lows deal not so much with Donna’s late-80s commercial slide but more with aspects of her childhood and early adult years which facilitated her sojourn in Germany and Europe and abusive relationships and first marriage. Sounds juicy, doesn’t it? Well, it is, kind of.

The whole story of Donna’s career is written from the perspective of someone confident in God’s plan for humanity. As such, even the really horrifying parts (like when she basically had to flee the country because of possible reprisals and an attempted kidnapping due to her testifying in a criminal case) are seen as necessary lessons.There’s not very much in-the-studio anecdotes, nor is there a lot of in-depth specifics of the 70s and 80s pop scenes. There is, however, a lot of hard-learned lessons from a dynamic and enduring performer, a great songwriter, and a businesswoman who has survived the whims of the music industry and the turbulent shifts in musical forms that have happened over the past thirty years. Inspirational? Certainly. But I couldn’t help but want to know more about what went into the creation of her classic records, and suspense is not a by-product of absolute certainty in the divine plan. Donna fans know they need this, and it’s a great gift idea for mothers and aunts of dance fans, or for the fundamentalist Christian in your life.

But Donna is still a vital part of contemporary dance music (experience “Dream-a-Lot’s Theme/I Will Live For Love” right now- do not pass go), and it’s good to see (and read) that she’s doing well.

REVIEW: Donna Summer – Once Upon a Time – 25th Anniversary of Donna Summer’s Once Upon a Time

by: Jason Shawhan

It was an incongruous pairing of sound and image. Tourists being mowed down by a runaway car, chaos reigning and, from the car’s radio, a familiar, plaintive voice. “That’s Donna Summer!” I said to my friends while immersed in the computer game Grand Theft Auto III, trying to avoid rolling their car after taking out several police officers and prostitutes with a particularly vicious sideswipe. It was Summer’s voice, from “Sweet Romance,” a harpsichord-based ballad from her 1977 opus Once Upon a Time…, now sampled as the refrain for Black Rob’s “By a Stranger,” which is how it came to be in the game.

Just in time for its 25th anniversary, Once Upon a Time… is creeping back into the zeitgeist. Conceived as a musical storybook for Summer’s daughter Mimi, Once Upon a Time… is a concept double album (divided into four acts, one per side on the original LPs) about fairy tales, love and life’s cruel realities. The basic narrative follows a nameless girl on her journeys in the land of Never-Never, including her rendezvous with destiny and true love. Timeless archetypes, to be sure, but ones that Summer and her songwriting partners and producers, Giorgio Moroder and Pete Bellotte, explored in new ways–namely, by conveying them through the sounds of disco and its adult concerns.

Once Upon a Time… yielded only one hit single, the dreamy and euphoric “I Love You,” but the record still went multiplatinum–the first of Summer’s four consecutive double albums to do so (in just three years). The record received mixed reviews upon its release, its detractors citing its opera-like conception as heavy-handed; today, it stands as perhaps the most ambitious and fully realized dance music album ever made.

A Nashville resident for the past seven years or so, Summer has long been hailed as the Queen of Disco, but that designation fails to do justice to the many musical forms–from funk and rock to blues and gospel–over which she and her collaborators demonstrated mastery. What is rarely addressed, and what certainly distinguishes the Summer/Moroder/Bellotte (S/M/B) collective from most dance groups, is the strength and versatility of their songwriting. It isn’t just the enduring nature of so many of Summer’s singles; it’s the boldness and reach of the albums on which they appeared.

Love to Love You Baby (1975) and A Love Trilogy (1976), for example, devoted their entire first sides to experimental, vampy versions of their respective centerpieces. “I Feel Love” from 1977’s I Remember Yesterday took all the loops and programs Kraftwerk had been working with, injected some soul into the machine and helped pave the way for contemporary electronic music. Act 2 of Once Upon a Time… is devoted to this kind of sound–Eurodisco before it had a name, Hi-NRG and synth-pop several years ahead of their time. The triptych of “Now I Need You,” “Working the Midnight Shift” and “Queen for a Day” that comprises side two of Once Upon a Time… is almost curiously removed from time, sounding at once retro and futuristic.

Musically, Once Upon a Time… is a marvel, quintessentially disco yet more than just simple bass-line vamps over thumping kick drums and eighth-note percussion sequences. The chorus to “Rumour Has It” has an amazing lead-in where the hi-hats go double-time, the staccato feel marvelously conveying the movement of a rumor through a community. A similar adventurousness pervades the paranoid delusion of “Faster and Faster to Nowhere”–the only appearance nightmare makes on an album of dreams and fantasies. Using analog vocoders, unearthly screeches swirl in the mix and Donna breaks down in fear; it’s the epitome of catharsis on the dance floor.

Nowhere is the ambition inherent in the S/M/B collective’s songwriting more apparent than in the funk-sass of “If You Got It Flaunt It.” The track takes a Mel Brooks maxim and reworks it as a bluesy strut, wherein the record’s protagonist throws shade at “catty creatures” who try to diminish her as a human being. This flirtation with the chords and structure of the blues would lead to one of Summer’s finest lesser-known songs, the funky “Love Will Always Find You” from the following year’s Bad Girls. S/M/B’s experiments with rock reached their fruition with that record, particularly on “Hot Stuff” and the equally imperious title track.

Like their latter-day counterparts Timbaland and Missy Elliott, S/M/B were constantly evolving creatively. Not content with letting any of their songs embody just one particular style, they began to blend tracks together, taking DJs mixes and combining them with artful segues to create a continuous record, one in which the beat didn’t stop and the BPM defined an entire side of the record. Take “Queen for a Day” from Once Upon a Time…: In keeping with the rest of the record’s second act, the track is completely synthesized; yet as it progresses, it devolves into piano, congas and strings. The effect is staggering. The stop-and-start dance beat of “Dance Into My Life,” however, may be the most revolutionary aspect of the album, foreshadowing Summer’s Oscar-winning “Last Dance,” which actually comes to a complete stop before revving back up again.

The album’s centerpiece, and what may be the finest example of intricate composition and arrangement for synthesizers, is “Working the Midnight Shift.” The track, a mournful lament about the painful costs of working nights, is equally ethereal and visceral. Half the sequencers seem to be working in a minor key, and at least a couple of banks are putting out a major key, and over it all–those cool glissandos of sound waves–is Summer’s voice, weaving a counterpoint with her backup singers. The overall feel is something akin to what Phil Spector might have done with Ralf and Florian of Kraftwerk. Summer was equally at home with R&B, funk, rock, the sexy purr of the clubs and the clarion call of the church. Above all, she meshed magnificently with machine, forever changing the sound of popular music.

On its 25th birthday, Once Upon a Time… sounds as fresh as ever, even as the soundtrack to mowing down tourists in cyberspace on Grand Theft Auto. That said, given the album’s energy and conceptual adventurousness, it could just as easily become a Broadway musical. Those are pretty much the two extremes of modern popular culture, and it’s rare to find something that can span that much social and emotional distance.