Artist: Donna Summer Genre(s):
R&B: Soul
Rock
Rock: Pop-Rock
disco
Discography:
The Journey-the Very Best of (cd2) Year: 2004
Tracks: 8
The Journey-the Very Best of (cd1) Year: 2004
Tracks: 19
Vh-1 Presents: Live and More Encore! Year: 1999
Tracks: 13
MTV History 2000 Year: 1999
Tracks: 20
I'm A Rainbow Year: 1996
Tracks: 18
Shout It Out Year: 1993
Tracks: 9
Mistaken Identity Year: 1991
Tracks: 12
The Dance Collection - A Compilation Of Twelve Inch Singles Year: 1990
Tracks: 8
Another Place And Time Year: 1989
Tracks: 10
All Systems Go Year: 1987
Tracks: 9
She Works Hard For The Money Year: 1983
Tracks: 9
Donna Summer Year: 1982
Tracks: 9
The Wanderer Year: 1980
Tracks: 10
On The Radio Year: 1979
Tracks: 16
Bad Girls Year: 1979
Tracks: 15
Live and More Year: 1978
Tracks: 17
Once Upon A Time Happily Ever Year: 1977
Tracks: 16
I Remember Yesterday Year: 1977
Tracks: 8
Four Seasons of Love Year: 1976
Tracks: 5
A Love Trilogy Year: 1976
Tracks: 5
Love to Love You Baby Year: 1975
Tracks: 6
Lady Of The Night Year: 1974
Tracks: 9
Once Upon A Time... Year:
Tracks: 16
Donna Summer Anthology (Cd2) Year:
Tracks: 16
Donna Summer Anthology (Cd1) Year:
Tracks: 16
Donna Summer's title as the "Queen of Disco" wasn't mere plug -- she was one of the very few disco performers to enjoy a measuring rod of calling longevity, and her consistent chart success was rivaled in the disco world only by the Bee Gees. Summer was for certain a gifted vocalizer, trained as a sinewy evangel belter, only then once more, so were many of her contemporaries. Of major grandness in scope Summer aside were her songwriting abilities and her choice of talented collaborators in producers/songwriters Giorgio Moroder and Pete Bellotte, which resulted in a steady supply of superiority (and, much, high-concept) material. But what was more, few vocalists could match the sensual, unfettered eroticism Summer brought to many of her best recordings, which seemed to personify the emotional state of the discotheque era perfectly. The tally parcel made Summer the ultimate discotheque prima donna, one of the few whose star force was even bigger than the music.
Summer was born LaDonna Andre Gaines on December 31, 1948, and grew up in Boston's Mission Hill section. Part of a religious family, she first american ginseng in her church's church doctrine choir, and as a stripling performed with a rock-and-roll group called the Crow. After heights school, she stirred to New York to sing and playact in stagecoach productions, and presently landed a function in a German production of Hair. She affected to Europe around 1968-1969, and exhausted a yr in the German mold, after which she became region of the Hair company in Vienna. She joined the Viennese Folk Opera, and later returned to Germany, where she settled in Munich and met and matrimonial Helmut Sommer, adopting an Anglicized variant of his last name. Summer performed in several leg musicals and worked as a studio apartment vocalizer in Munich, transcription demos and setting vocals. Her number one solo recording was 1971's "Sortie Go 'Round the Roses," but success would not come until 1974, when she met producers/songwriters Giorgio Moroder and Pete Bellotte piece working on a Three Dog Night record. The three teamed up for the single "The Hostage," which became a hit around Western Europe, and Summer released her number one album,
Lady of the Night, in Europe only. In 1975, the trio recorded "Love to Love You Baby," a disco-fied reimagining of Serge Gainsbourg and Jane Birkin's plushy, heavy-breathing composition "Je T'aime...Moi Non Plus." Powered by Summer's graphic moans, "Love to Love You Baby" became a massive impinge on in Europe, and john Drew the attention of Casablanca Records, which put the running out in America. It climbed to number two on the singles charts, and became a dance-club sense when Moroder remixed the data track into a 17-minute, sidelong larger-than-life on the LP of the same call.
In the awake of "Love to Love You Baby," albums (as opposed to simply singles) became an important forum for Summer and her producers. The 1976 reexamination
Passion Trilogy contained some other sidelong suite in "Try Me (I Know We Can Make It Work)," and demonstrated Moroder and Bellotte's maturation sophistication as arrangers with its lush, sweeping strings.
Four Seasons of Love, released later in the year, was a conception record album with one racecourse consecrate to each season, and 1977's
I Remember Yesterday featured a diversity of genre exercises. Despite the album's title, it produced the most innovative undivided in Summer and Moroder's catalog, the monumental "I Feel Love." Eschewing the string section and typical disco surplus, "I Feel Love" was the showtime major pop strike recorded with an alone synthesized patronage caterpillar track; its run, slick arrangement and drive, hypnotic pulsing laid the fundament not only for infinite Euro-dance imitators, only besides for the techno revolution of the '80s and '90s. It became Summer's second gear Top Ten run into in the U.S., and she followed it with
Erstwhile Upon a Time, another construct album, this unrivaled retelling the story of Cinderella for the disco geological era.
Summer's albums were merchandising considerably, bolstered by her popularity in the dance clubs, and she was equanimous to become a major pop hitmaker as comfortably. Her playacting release in the 1978 disco-themed comedy
Give thanks God It's Friday produced another hit in "Last Dance," which south Korean won her a Grammy for Best Female R&B Vocal (as well as an Oscar for ballad maker Paul Jabara). Doubtlessly benefiting from the added exposure, the double-LP set
Live and More became Summer's showtime number i record album later that year. It featured one side of new studio material, including a discotheque cover up of the psychedelic pop epical "MacArthur Park" that became her showtime number i pop single early the next year. Her 1979 double-LP
Bad Girls featured more of her songwriting contributions than ever, and went straight to phone number one, as did the red-blooded singles "Bad Girls" and the rock-oriented "Hot Stuff," which made Summer the showtime distaff artist ever to score three number one singles in the same calendar twelvemonth. Her greatest-hits computer software
On the Radio likewise topped the charts, the beginning metre any creative person had of all time strike number one with three back-to-back bivalent LPs; the fresh recorded title track became some other hit, and Summer's duo with Barbra Streisand, "No More Tears (Enough Is Enough)," became her fourth number i undivided.
At the height of her success, Summer distinct to leave Casablanca, and became the showtime creative person signed to the new Geffen label. Sensing that the disco geological era was approaching to a shut, Summer attempted to qualify her style to include more than R&B and pop/rock on her showtime Geffen album, 1980's
The Wanderer; the album and its form of address cut were both hits. Not missing to alienate her effect audience, Summer returned to pure dance music on an attempted followup; however, Geffen deemed
I'm a Rainbow non worthy of release (it was in the end issued in 1996). Instead, Summer over her collaboration with Moroder and Bellotte and teamed up with Quincy Jones for 1982's
Donna Summer. "Love Is in Control (Finger on the Trigger)" was a meaning reach, just none of its follow-ups did very well. With producer Michael Omartian, Summer touched back into post-disco dance music and urban R&B with 1983's
She Works Hard for the Money; its title track was a smash and became a feminist anthem of sorts. However, with her life history momentum deceleration, it also pronounced the ending of Summer's prime. Despite fetching a gospel Grammy for "Forgive Me," Summer's 1984 followup
Cats Without Claws flopped, as did the 1987 comeback elbow grease
All Systems Go. Hiring the British production team of Stock, Aitken & Waterman, Summer scored her last major success with the 1989 Top Ten single "This Time I Know It's for Real," from the album
Another Place & Time; around the same prison term, she began denouncing her sooner, "iniquitous" discotheque material. 1991's lustreless, urban-styled
False Identity in effect killed her career momentum, and none of her new '90s albums produced that elusive hit. However, she did seduce some stochasticity on the dance charts with "Melody of Love," from the splendid 1994 retrospective
Endless Summer, and reunited with Moroder for the 1997 non-LP single "Carry On," which won the inauguration Grammy for Best Dance Recording. Summer afterward gestural a deal with Sony, which fit her for re-establishment with the 1999 greatest-hits live album VH1 Presents: Live and More Encore!; it featured the modern song "I Will Go With You (Con Te Partiro)," which had some success on the dance charts.
