New Donna Summer album coming soon...

[EricHG23]

CdnBob Fire (the original album mix) is a great dance track that reminds me of some disco "morning music"--laid back, and it kinda meanders and changes over the 7 mins (the original album mix--I'm less keen on the remixes). The producer, Sebastian Arocha Morton is a huge Moroder fan. Sadly he did an even better track, It's Only Love, that premiered on a Donna Summer themed radio station this weekend, that's a similarly long, hypnotic dance track with maybe a hint of I Feel Love, that ISN'T on the main American/Canadian release of the album. It's a bonus track on the International edition (out late June) and it seems on the Circuit City Exclusive edition which you can only get in the US. Annoying for Canadians like me as it's one of my fave of the leaked tracks.

The album as a whole might suffer from being too diverse--she covers a lot of different styles (though she co wrote everything so there is a comonality), but has all been surprisingly strong--and I'm a big fan. This isn't another Mistake Identity (her mess of an album, her last one, that was cheaply made in 1991). Indeed it was smart for her to sign to Burgundy, the small group owned by Sony for this project. They focus on one artist/release at a time (their last release was Chaka Khan's CD that won a Grammy) and on artists who are "established" but still viable to do new material with big name producers/talent--not just covers albums, etc--thank God. www.myspace.com/donnasummer has more info. She also will be doing many public appearances including a 3 song mini concert the week of the release on The Today Show and an appearance on letterman and then a major N American tour through the Summer (I'm seeing her for my first time in Vancouver, early August--can't wait).

I love me a lot of Streisand, from her 60s albums (prob the ones that suited her voice best thru her brushes with disco, Jim Steinman balladry, the first Guilty, etc... But I gotta agree--the woman has been drowning her vocals in over produced, muzaky, mushy productions for too long now. I'm a huge fan of the musicals of Stephen Sondheim but listening what she did to his songs on her Broadway albums is torture.

A2Mark--Donna was more 1948 not 1958 but I think that was a typo--so yeah she'll be 60 this December. I can't think of too many powerful singers who still sound as good. I always joke that three of my fave pop/dance artists (I admit to being a cliched gay 28 year old sometimes) were born in 48 (Summer), 58 (Madonna) and 68 (Kylie Minogue...)

E

[discokicks]

I guess some of us will just have to agree to disagree with all of this in regards to Donna, Babs and others and chock it up to what one hears and feels with their music.

Streisand went back to her roots and found not only her comfort but also her confidence. Although I wasn't totally wowed by Guilty Pleasures, the first cut Come Tomorrow is an absolute beauty. The A Love Like Ours album is glorious in its entirety and a classic in my collection. Her concert cd from '94 is a gem and the broadway albums superb. "Muzak" or "Musique"....guess its all up to the listener.

In regards to this current album of Donna's, this listener hears nothing but the attempts of many to put out something that might be attractive and relevant to today's generation which totally zaps the soul of the artist. And yes, put her out there on the Today Show, the Tonight Show and Letterman. Make all the attempts in the guide book of "How To Create A Superstar" and convince everyone "Donna's back!" but unfortunately, at the end of it all, she can't compete with the Rihannas and Beyonces out there and in my opinion, why do that in the first place?

And as far as thinking any of this is ageist, what's ageist in all of this is making a comeback album that seems to have thrown its middle finger up to her biggest fans which would be those of us in our mid-40s and up. The direction of Cher's Believe album is the best example of what would have been the appropriate route for Summer to have gone. That album shocked the entire pop world with its deliberate throwback to disco and dance clubs which was Cher's intention and was massive.

In the meantime, I'll stick to listening to my cherished 70s Summer albums and my current Roisin Murphy cd for the kind of dance-oriented material that I crave.

[Cdnbob]

Eric - Yes I had forgot that Donna's going to be here in Vancouver at the River Rock casino. I haven't decided if I'm going or not as over the next little while there are several people I'm going to see live and planning to see live including David Cassidy (yes, yes, I know), tentatively Donna and also Boy George in July.

As to Barbra, I tend to agree totally with you. I think the last great album she did was 1985's The Broadway Album. Sadly everything since then discounting her live cd's have been gawd awful.

[EricHG23]

CdnBob I didn't know you lived on the West Coast. I'm going to the Friday show--never seen her before and might never again so couldn't resist--got third row dead center seats (the show, both nights ARE selling VERY well though, even the ifrst day it was almost 2/3 sold out so I'd decide fast0. Send ma PM if you do go, would be cool to meet a disco fan.

DiscoKicks I understand what you mean (BTW when Donna Summer was signed to Sony in 1999 she started recording an album, several tracks with metro who of course had just done most of Believe. Sony after it was nealry all recorded shelved the album when management changed and they didn't know how to market Donna. Yep yet another shelved DOnna album--Donna has mentioned releasing it to itunes--we'll see cuz I'd love to hear her with Metro. But Cher was a different situation--she wasn't as out of the public eye as Donna is, she was strill a HUGE star, she was also ten years younger than Donna is now, not much older than Madonna now in fact, etc). Also I still think it's horrible to base a reaction on SAMPLES of songs--an unfortunate problemw ith the Internet age. I think you're wrong about Burgundy thinking she's going to get the Rhianna market. We do agree about Roisin Murphy's great album though ;)

here's one of the first reviews of Crayons I found, from the usually pretty critical Soul Tracks website. Give it a read, I think it points out some of the reasons this album (who's main songwriter is Donna herself) is smart--and was largely decided by Donna herslef who wanted to show many styles to her singing and songwriting. I just wish all editions included It's Only Love.

[EricHG23]

Donna Summer - Crayons (Advance Review)


All hail the queen! Donna Summer has broken the curse. For far too long, record companies have lazily saddled established artists -- black female singers, in particular -- with "covers" projects. Diana Ross, Natalie Cole, Dionne Warwick, Patti Austin, Deniece Williams, Gladys Knight, Miki Howard, Patti LaBelle, and Vanessa Williams have all released albums comprised of well-known songs already emblazoned in the minds of listeners by other artists (or their younger selves, in the case of Warwick). While some efforts certainly succeed more than others, the trend bespeaks a lack of creativity from record labels. These artists are more than worthy of original material.

When Donna Summer was approached by Burgundy Records to record an album, she declined the inevitable "standards"-type project they suggested. Instead, Summer played a song for executives that she co-wrote with Lester Mendez and Wayne Hector, the haunting "Be Myself Again." Based on that one song, Burgundy decided that an entire album of Summer's compositions would be a more interesting and creative enterprise than yet another "American Songbook" album.

Crayons is particularly special since Donna Summer hasn't released an album of original material since 1991, the sorely under-promoted Mistaken Identity. Club singles, a concert album, a Christmas album, soundtrack themes, and scores of new compilations have kept Summer visible in the market since then but none have truly captured the excitement and mystery that a new album delivers. Crayons single-handedly obliterates that nearly 20-year gap - it's that good.

Not only does Crayons remind listeners about the thrill of discovering a brand new song, it's among the very best albums of Summer's four-decade career. Like Four Seasons of Love (1976), I Remember Yesterday (1977), Once Upon a Time (1977), Bad Girls (1979), and The Wanderer (1980), a theme encapsulates Crayons. The diversity of styles on the album is like a box of different colored crayons. From the spicy samba of "Drivin' Down Brazil" to the bayou twang of "Slide Over Backwards," the album emphasizes Summer's versatility as a singer and songwriter. Always one to take a creative risk, she successfully weaves together the disparate styles.

Crayons opens with the anthemic "Stamp Your Feet." The song highlights the various contours and textures of Donna Summer's voice while furnishing one of the more fierce grooves on the album. Even before Summer utters an actual word, her trademark timbre beckons. "Whoa-oah/Hey-yea-eah," she intones. Her voice is like a fine wine; its body grows more rich and full with time.

Summer joined as songwriters, Greg Kurstin (Pink, Lily Allen, Sophie Ellis-Bexter and Kylie) and Danielle Brisebois (Natasha Bedingfield, New Radicals) for "Stamp Your Feet" and two stylistically adventurous outings, the title track and "Drivin' Down Brazil." The former features an infectious reggae-derived rhythm, which bounces underneath the refrain, "We're crayons melting in the sunshine." With a guest appearance by Ziggy Marley, "Crayons" is an exuberant celebration of different cultures, standing as a unique addition to Summer's repertoire. Long beloved in Brazil, Donna Summer returns the adoration with "Drivin' Down Brazil," a story about a sharp-dressed man who literally drives down to Brazil to see his girlfriend. The music of Antonio Carlos Jobim accompanies his journey in a low-ride Bonneville. "Drivin' Down Brazil" is carried by a sumptuous samba and adds yet another vivid hue to the kaleidoscope of colors on Crayons.

As the first artist to win the Best Rock Vocal Performance, Female Grammy in 1980 ("Hot Stuff"), rock music is never far from Summer's palette. A pair of tracks co-written and produced by Toby Gad (Fergie, Elisabeth Withers) are distinctly rock driven. "Science of Love" is a masterful production that stuns with its complexities yet never washes over Donna's radiant vocals. It could even be a hit single if radio wasn't so monopolized by 20-somethings. Gad's meaty power chords and jagged rhythms amplify the lyrics while Summer's strident vocals signify friction as she fights the law of attraction. "Fame (The Game)" takes the rock edge even further but brings to it an exciting rock/dance vibe. In a clipped, emotionless tone, Summer compellingly explores the superficial, frenetic, and vacuous nature of fame, updating themes David Bowie sang about in 1974 for the 21st century.

Fame nearly cost Summer her life in the 1970s, which she documented in her autobiography, Ordinary Girl (2003). Its overwhelming force swept Summer's identity underneath the "First Lady of Love" image created by Casablanca Records. On "Be Myself Again," Summer examines the chasm between the true self and the image that's projected when fame takes holds of a person. "Had I known what I lost/what I gained/what it cost/I'd still give what remains/to be myself again," she sings over a stark piano arrangement. It's a chilling sentiment that lingers long after the song ends.

Donna Summer explores the inner life of a character named "Hattie Mae Blanche DuBois" on "Slide Over Backwards." Singing in a rough and raspy croak, Summer literally becomes the character. Steel guitar and harmonica set the story in New Orleans as "Hattie Mae" tells how she raised herself and lived on po' boys (Louisiana's version of a submarine sandwich). "Slide Over Backwards" might catch some listeners off guard at first but they'd be wise to give it a chance. It's a winsome and winning performance by Summer, chock full of intriguing sonic details.

Elsewhere on Crayons, Donna Summer serves up a dreamy, acoustic-based tune ("Sand on My Feet"), a throbbing, Latin-infused dance-floor jam ("I'm a Fire"), a poignant prayer for Darfur ("Bring Down the Reign"), and a pair of cuts co-written by Evan Bogart, the son of Casablanca Records founder (and Summer's mentor) Neil Bogart. Perhaps more than any other album in Donna Summer's career, Crayons exemplifies the breathtaking range of her songwriting and singing.

Donna Summer deserves a vociferous round of applause for staying true to her artistry on Crayons. Her first album of new material in 17 years honors her legacy while unveiling other facets of her creativity. Hopefully other artists will take Summer's lead and petition to record original material since audiences are hungry for fresh and innovative sounds. For now, listeners should immerse themselves in the Crayons experience and hear a queen at play in her kingdom.

By Christian John Wikane

[Boogie Child]

DiscoKicks,

I have to agree with you - after hearing the audio samples from "Crayons", I don't understand why Donna has chosen this path for her "return". I agree that the style of Cher's "Believe" CD would have been more appropriate. Even Madonna acknowledged her fan base with the release of "Confessions", Kylie Minogue with "Light Years" and "Fever", even Cyndi Lauper with her new Dance CD. Taylor Dayne's new CD does not have one single Dance cut, and these Divas complain that they have to finance their own projects, while at the same time, they ignore the musical style that made them popular in the first place.

[kdavid13]

I agree that a full-on dance album from Donna would have been welcomed with open arms by almost all of her fans. But at the same time - after a 17 yr break - you have to come back with something a little different too.

The fact that she worked with new young talented co-writers must have played a part in this. Also Donna working with these younger cats ; gave her a renewed sense of belonging in the industry and I'm all for that.
She was no longer the dinosaur from the disco-era but a current artist allowed to put out current music and most of all backed by a label who believed in her. God bless Burgundy Records.

I'm happy that she is putting a foot forward and come what may.From what I've heard - the album is a winner.

And besides anything can be and will be remixed so a dance/disco sounding new Donna track is only a few weeks/months away.

The remixes will explode all over and keep the DIVA on the charts for months I'm quite sure.

[SandraDee]

Originally Posted by A2Mark57

SandraDee, I apologize. I was defensive, I missed your humor, and I was rude to you.

It's not a problem Mark. My humour is sometimes a bit, esoteric shall we say?! The last thing I want to do is offend a fellow Donna fan; we people with terrific taste should stick together!

[SandraDee]

Originally Posted by kdavid13

And besides anything can be and will be remixed so a dance/disco sounding new Donna track is only a few weeks/months away.

How true; if they can do decent dance remakes/remixes of people like U2 & David Byrne then anything is possible these days.

[Boogie Child]

A little different is not the same as a lot different. Anything can be remixed, but she has only one straight-on dance cut on the CD. One other "It's Only Love" - which was left off and available on the import and Circuit City exclusive CD's. Everyone is entitled to their own opinion and taste, but personally, I do not need to hear Donna Summer sing a blues song, complete with harmonica and Macy Gray-like vocals ("Slide Over Backwards"). I appreciate the fact that she wants to branch-out, but at the same time, it's like she's purposely distancing herself from the style of music that cemented her career (and in the process, thumbing her nose at the fans). I can see that she is showing her versatility and diversity as a singer, but the CD as a whole is not cohesive. That's my two cents.

[SandraDee]

Originally Posted by Boogie Child

it's like she's purposely distancing herself from the style of music that cemented her career (and in the process, thumbing her nose at the fans).

I'm not very surprised to be honest. She's already gone in print saying that the whole disco music/ sexy vixen era gave her a nervous breakdown because she didn't really want that image but she felt trapped into it when what she really wanted to do was write rock hits for people like Rod Stewart ('Dim All The Lights' was originally intended for him to be recorded in a rock/country style). It's terrible that she feels her whole career wasn't what she really wanted (I know how she feels!); apparently she moved to Nashville to try to correct her past in some way. Whatever, I shall always play her classic stuff & enjoy them as I have always done as her body of work is beyond comparison.

[EricHG23]

That was more Donna at her most extreme 80s fanatical. If you see her now she seems very comfortable in her skin, VERY proud of her hits (in concert she's started rolling out songs she hadn't done in years like Once Upon a time, Spring Affair, I Love You, Could it Be Magic) and at peace with her career.

I dunno I think it's silly to complain that she's getting on Letterman and other shows. She's not trying to be a new Rhianna--what's happened, and it's about time, is the industry has new found respect for her--her legacy, music and talent is being taken seriously recently the first time it has in a good long while. I hate to say it but releasing a straight ahead dance album that would fit exactly in with the old expectations of her showing nothing new would be at this time a wasted opportunity. Believe for Cher came at a VERY different place, age, career and audience wise than where Donna is now. Even in the 70s Donna fought for diversity--she recorded the great My Baby Understands on Bad Girls without Moroder on her own, for one of many examples. This isn't coming out of nowhere and isn't some example of an established artist bein forced into a new style to be "relevant".

Fire on the main release (and I agree that It's Only Love should be on all releases) is the only song with a strong disco background. BUT it's not the only dance song. Just like in the 70s Donna alwasy experiemneted within disco, as a friend pointe dout to me, many tracks on this new release fit into modern definitions of dance (Crayons, Queen is Back, The Game--in particular-, Stamp, Brazil, Mr Music) are all on the dance side of pop. As she did in her classic era the boundaries are pushed but it makes sense to me. I dunno, I think expectations are kinda unfair and unrealistic (although I do wanna hear that album that was shelved that she did with Tony Moran, Metro and others in 2000--maybe the fact she did a largely dance/pop album and it wasn't released played a part in the direction of this one too). My point is though I really don't see this as Donna turning her back on her hardcore fan base or her old musical styles at all, but branching out (and Donna experimenting with styles she always has wanted to). And so far it looks like it will be a success--critically and by Burgundy record expectations with audiences as well.

People use examples like Cyndi--she's doing a dance album and about half of it is brilliant I think, I'm not so keen on some of it. But this isn't a return to form for her--she's not known as a dance artist and indeed for the past 12 years has done nearly everything BUT dance music. Cher had ONE dance hit before Believe--which was a brilliant strategic move on her part that was built on her last hit being the gay club remixes of One by One from her relatively flop previous album. I suspect if Donna gets to do another album it will be more traidtional disco sounding overall--but at this poitn after nearly 20 years (and Mistaken Identity was no masterpiece) she wants to show what she can do.

And yeah I guess I'm pretty defensive but it still amazes me the ideas people have on the CD when it hasn't even leaked in full...

[SandraDee]

You're right, Donna was always on the poppier side of disco, it's just that pop was so much better in the 70s & 80s than it is now IMO.

[markydefad]

Originally Posted by EricHG23

I dunno I think it's silly to complain that she's getting on Letterman and other shows....

When is the Letterman appearance??? Or did I miss it????

nevermind...did the Google...

Donna’s TV Schedule
Category: Music
Donna will be making the following television appearances in support of the new album:
Entertainment Tonight - 5/22
Extra - 5/22
CBS Sunday Morning - 5/25
Today Show Summer concert series 5/30
Late Show With David Letterman - 6/2



Upcoming Shows ( view all ) May 25 2008 9:00A CBS Sunday Morning New York, New York May 30 2008 7:00A Today Show Summer Concert Series New York, New York Jun 2 2008 11:30P Late Nite with David Letterman New York, New York Jul 5 2008 8:00P The Filene Center Vienna, Virginia Jul 8 2008 8:00P Meadowbrook Musical Arts Center Gilford, New Hampshire Jul 9 2008 8:00P Mohegan Sun Arena Uncasville, Connecticut Jul 11 2008 8:00P Bethel Woods Center for the Arts Bethel, New York Jul 12 2008 8:00P Bank of America Pavilion Boston, Massachusetts Jul 16 2008 8:00P Pier 6 Pavilion Baltimore, Maryland Jul 18 2008 8:00P PNC Bank Arts Center Holmdel, New Jersey Jul 19 2008 8:00P Nikon at Jones Beach Music Theater Wantagh, New York Jul 20 2008 8:00P Seneca Allegany Casino Salamenca, New York Jul 22 2008 8:00P Casino Rama -- Entertainment Centre Rama, Ontario Jul 23 2008 8:00P Casino Rama -- Entertainment Centre Rama, Ontario Jul 25 2008 8:00P Caesars Atlantic City Atlantic City, New Jersey Jul 26 2008 8:00P Caesars Atlantic City Atlantic City, New Jersey Jul 27 2008 8:00P Westhampton Beach Performing Arts Center Westhampton Beach, New York Aug 8 2008 8:00P River Rock Casino Resort Richmond, British Columbia Aug 9 2008 8:00P River Rock Casino Resort Richmond, British Columbia Aug 10 2008 8:00P Northern Quest Casino Spokane, Washington Aug 13 2008 8:00P The Mountain Winery Saratoga, California Aug 15 2008 8:00P Peppermill Reno Hotel Casino - Tuscany B Reno, Nevada Aug 16 2008 8:00P Paramount Theatre of the Arts Oakland, California Aug 17 2008 8:00P Wells Fargo Center for the Arts Santa Rosa, California Aug 20 2008 8:00P Viejas - Concerts in the Park Alpine, California Aug 22 2008 8:00P Hollywood Bowl Los Angeles, California Aug 23 2008 8:00P Hollywood Bowl Los Angeles, California Aug 27 2008 8:00P Casino Windsor Limited Windsor, Ontario Aug 28 2008 8:00P Casino Windsor Limited Windsor, Ontario Aug 30 2008 8:00P Ravinia Pavilion Highland Park, Illinois Aug 31 2008 8:00P Mystic Lake Casino Prior Lake, Minnesota

[Boogie Child]

The entire CD is available to hear on the VH1 website. I will say that she has the PR this time. Maybe she set the bar so high, she will always disappoint her Disco fans. She was the most consistent and prolific from that era. She had the melodies, the voice and the production.

She tried to remedy her 80's mis-steps with "Another Place and Time" in 1989, and it appealed to the fans and created new ones. Ironically enough, her husband suggested hooking up with SAW. Then, left to her own devices, "Mistaken Identity" was the follow-up and her most maligned effort (even by fans who would rave if she sang the phone book).

I will continue to play the Donna that I have known and loved (until the early 80's product) and will wish her success on the new CD.