Disco Divas Head to Head: Donna Summer vs. Gloria Gaynor.......Who's the Best?

[garrybcoston]

Alright Disco People. This, is a hard one!

I will give you a little background of both (y'all already know), and then I will give you my pick. But before I do that, I will let everyone know that I love both of these Disco Artist's equally; but, I will have to pick one and only one...not both. Be sure to give everyone your pick of which Artist is best along with the reason why!

1. Gloria Gaynor. Gloria has a deep music history but an even deeper Disco history. She started performing professionally in 1965 with the "Soul Satisfiers," but no hits were produced while with that group. Then in 1975, Gloria had her first hits from the album, "Never Can Say Goodbye." I remember that album well. That was when Disco began to make a dent in the music scene and began its ascent as King of the air waves and the music world. Later, she produced four more albums, "Gloria Gaynor, I got you, Glorious, and Park Avenue Sound" but these albums were not nearly as sucessful as her first album and were mostly devoid of any hits. Gloria went into a lull during the late 70's and would not see any signficant chart success or hits until 1978 when she released "Love Tracks," which produced the blockbuster hit, "I will survive." Gloria would release two more disco albums in 1980 and 1981, however, due to the backlash against Disco (which was on the wane towards death at the time), they were never released. In the 1980's (1984), Gloria would release one more album, "I am Gloria Gaynor," which produced the mega hit "I Am What I Am." After the 80's, Gloria would go on to continue recording but would never again produce any Top 40 albums, however, she continued to record on the dance, house and club circuit.

2. Donna Summer. One year older than Gloria Gaynor, Donna Summer also has a deep music history and even deeper Disco and Dance history. Donna Summer began singing at a very young age while in the Church. Influenced by Janis Joplin and Big Brother and the Holding Company, Donna was also influenced by the Motown Girl Groups (Supremes, Martha Reeves, etc.). Her first music group or band would be "The Crow" which was a psychedelic rock group. Nothing was garnered from her first experience singing with "The Crow." She would later try out as the lead female singer in the Broadway Musical, "Hair," but lost the role and audition to Melba Moore (who also later became a Disco Artist). The Musical would later move to Europe and Donna was offered the lead role and accepted it. During her time in Europe she would spend a lot of time in Germany. During that time, she participated in the musicals Godspell and Show Boat. After settling in Munich, she began performing in several ensembles including the Viennese Folk Opera and even sang as a member of the pop group FamilyTree – "invented" and created by the German music producer Guenter "Yogi" Lauke & the Munich Machine. She came to the group in 1973 and toured with the 11-people pop group throughout Europe. She also sang as a studio session singer and in theaters. In 1971, while still using her birth name Donna Gaines, she released her first single, a cover of "Sally Go 'Round the Roses", though it was not a hit. It was while singing background for the hit-making 1970s trio Three Dog Night that Summer met producers Giorgio Moroder and Pete Bellotte. She eventually made a deal with the European label Groovy Records and issued her first album, Lady of the Night, in 1974. Though not a hit in America, the album found some European success on the strength of the song "The Hostage", which reached number one in France and Belgium and number two in the Netherlands. Summer's early material consisted of pop rock and folk rock material. She stated years later that had she not recorded disco, she would have been a black rock singer, but considering there was not a market for black rock singers, Summer thought it would be hard to get promoted as such. In 1975, Summer approached Moroder with an idea for a song he and Bellotte were working on for another singer. She had come up with the lyrics "love to love you, baby". Moroder was interested in developing the new sound that was becoming popular and used Summer's lyrics to develop the song. Moroder persuaded Summer to record what was to be a demo track for another performer. She later said that she had thought of how the song might sound if Marilyn Monroe had sung it and began cooing the lyrics. To get into the mood of recording the song, she requested the producers turn off the lights while she sat on a sofa inducing moans and groans. After hearing playback of the song, Moroder felt Summer's seductive version should actually be distributed. Released as "Love to Love You" in Europe, some radio stations refused to play it, but the song found modest chart success in several countries there. The subsequent albums Love Trilogy and Four Seasons of Love both went gold in the US. In 1977, Summer released the concept album I Remember Yesterday. This album included her second top ten single, "I Feel Love", which reached number six in America and number one in the UK. These Hot 100 entries on the singles chart would help get Summer deemed in the press as "The First Lady of Love", a title which she was not totally comfortable with.

Another concept album, also released in 1977, was the double album, Once Upon a Time, which told of a modern-day Cinderella "rags to riches" story through the elements of orchestral disco and ballads. This album would also attain gold status. In 1978, Summer released her version of the Richard Harris ballad, "MacArthur Park", which became her first number one US hit. The song was featured on Summer's first live album, Live and More, which also became her first album to hit number one on the US Billboard 200 chart, and went platinum selling over a million copies. Other studio tracks included the top ten hit, "Heaven Knows", which featured the group Brooklyn Dreams accompanying her on background and Joe "Bean" Esposito singing alongside her on the verses. Summer would later be involved romantically with Brooklyn Dreams singer Bruce Sudano and the couple married two years after the song's release. Also in 1978, Summer acted in the film, Thank God It's Friday, playing a singer determined to perform at a hot disco club. The song from the film, entitled "Last Dance", reached number three on the US Hot 100 and resulted in Summer winning her first Grammy Award. Its writer, Paul Jabara, won an Academy Award for the composition. Despite this success, Summer was struggling with anxiety and depression and fell into a prescription drug addiction for several years.
Following her recovery, Summer worked on her next album with Moroder and Bellotte. The result was Bad Girls, an album that had been in production for nearly two years. Summer based the concept of the album on a prostitute, as was made clear in the lyrics. The album became a success, spawning the number one hits "Hot Stuff" and Bad Girls, and the number two ballad "Dim All the Lights" With MacArthur Park, Hot Stuff, Bad Girls, and the Barbra Streisand duet "No More Tears (Enough is Enough)", which appeared on Streisand's album, Summer achieved four number-one hits within a thirteen month period. Those aforementioned songs, along with Last Dance, Heaven Knows, Dim All The Lights, and On the Radio (from her upcoming double-album) would give her eight US Top 5 singles within a two year period. "Hot Stuff" later won her a second Grammy in the Best Female Rock Vocal Performance, which was the first time that category was ever brought to the award's show. That year, Summer played eight sold-out nights at the Universal Amphitheater in Los Angeles. Summer released her first greatest hits set in 1979, a double-album entitled On The Radio: Greatest Hits Volumes 1 & 2. The album reached number one in the US, becoming her third consecutive number one album. A new song from the compilation, "On the Radio", reached the US top five. After the release of the greatest hits album, Summer wanted to branch out and record other formats in addition to disco. This led to tensions between her and Casablanca Records. Sensing that they could no longer come to terms, Summer and the label parted ways in 1980, and she signed with Geffen Records, the label started by David Geffen. Summer's first release on Geffen Records was The Wanderer; it replaced the disco sound of Summer's previous releases with more of the burgeoning new wave sound and elements of rock, such as the material being recorded at this time by Pat Benatar. The first single, the title track, became a hit and peaked at #3 in the US, subsequent singles were moderate hits. The album achieved gold status in the US, but met limited success on the UK charts. Summer's projected second Geffen release, entitled I'm a Rainbow, was shelved by Geffen Records (though two of the album's songs would surface in soundtracks of the 1980s films Fast Times at Ridgemont High and Flashdance). Summer reluctantly parted company with Moroder after seven years working together as Geffen had recruited Quincy Jones to produce her next album. The result was the 1982 album Donna Summer. The album had taken a lengthy six months to record as Summer and Jones had argued constantly during the recording process. After the release of the album, Summer would say she found Jones too controlling and boisterous in the studio and felt like she really had sang on a Quincy Jones album. The album's first single, the dance-funky "Love Is in Control (Finger on the Trigger)", became an American top ten hit on the Hot 100. The next singles, "State of Independence" and "The Woman In Me", were moderate hits. Problems then increased between Summer and Geffen Records after they were notified by Polygram Records, the parent company of Summer's former label Casablanca, that she needed to deliver them one more album to fulfill her agreement with them. Summer delivered the album "She Works Hard for the Money" and Polygram released it on its Mercury imprint in 1983. The title song became a hit reaching number three on the US Hot 100, and Summer would receive a Grammy nomination for this song. The album also featured the reggae-flavored top 20 UK hit "Unconditional Love", which featured the group Musical Youth who were riding high from the success of their single "Pass the Dutchie". The third US single, "Love Has A Mind of Its Own", reached the top forty of the Billboard R&B chart. With the album She Works Hard For the Money being certified gold, spawning a US and a European hit, and receiving a Grammy nomination for the title song, David Geffen was reportedly upset that the album was a success but had not been released by his label, with whom Summer was currently contracted. In late 1984, with no more albums due to Polygram, Summer returned on Geffen Records with her next release. Geffen, wanting to keep the momentum going, enlisted She Works Hard For the Money's producer Michael Omartian to produce Cats Without Claws. The album, however, was not as successful as She Works Hard For the Money or The Wanderer. It included a moderate hit in "There Goes My Baby", which just missed the US Top 20, peaking at #21. But the album failed to attain gold status of 500,000 copies sold in the US, becoming her first album since her 1974 debut not to do so. Donna Summer continued, in general, to be successful through the 80's and though she would not produce a Top 40 Album after the 80's, would go on to record numerous Dance/Techno songs/music on through to the present. In 2008, Summer released her first studio album of original music in 14 years entitled Crayons, which brought her American success, peaking at #17 on the US Top 200 Album Chart, and modest international success. The album was released on the Sony BMG label Burgundy Records. The songs "I'm A Fire", "Stamp Your Feet", and "Fame (The Game)" reached number one on the US Billboard Dance Chart. The ballad "Sand on My Feet" was released to adult contemporary stations and reached number thirty on that chart.

GARRY SEZ: First, both of these Divas have strong voices, high ranges, almost perfect pitch, and perfect intonation overall. Vocal preference? I like Donna Summer's voice better and Donna's voice has truly held the test of time while Gloria's seem to have weakned, lost some range, and wavered over time and with age. Entertainment wise, I think Donna has the better showmanship and entertainment persona probably because of her acting skills and background; however, this one is extremely hard for me because I like both Artists. Though Gloria Gaynor was the "initial" or first Queen of Disco, Donna Summer came on the scene in 1975 and snatched the scepter away from Gloria Gaynor. After Gloria's first album, Gloria went through a 3 to 4 year drought while Donna was spitting out album after album and hit after hit over the airwaves; add to this Donna Summer showing the public her acting skills in the Disco movie, "Thank God It's Friday," and then there was no more doubt as to who the Queen of Disco was. Though Gloria had one more hit song and album in 1978, Donna was continuing to wring out hit after hit and album after album, and would continue accomplishing this feat on through the 80's with Donna adjusting to Disco's death and Gloria falling off the radar after Disco's Death. Both Artists would make a reprieve in the 90's and beyond but Donna would prove to be the most successful cranking out dance/techno tunes and putting out, in 2008, one more Top 40 album for the masses which was moderately successful; while Donna was doing this, Gloria was successful in a sense; but her success was based upon and due to her 1978 hit song, "I Will Survive." Again, I like both Artists, but I will have to say that Donna Summer is the better Disco Artist, better singer and vocalist, and better Artist overall hands down; what do y'all think?

Garry

[boogienights]

I vote for Donna.I love a lot of Gloria's music but I think Donna is more 'disco'. Gloria has that classic soul/Motown sound on a lot of her records which is good..but I think Donna had the genius of Giorgio to help her out. I actually really like a lot of Gloria's 'no-hit' period: I love "We Can Start Over Again".I think it was clever with the concept albums that were done for Donna and I think the songs were sexier.With their voices, I would put them on par, they are both excellent vocalists. I don't really know why Glorias success went south during the period after "Never Can Say Goodbye" and "Love Tracks"..perhaps someone can fill me in? I don't know anything about eithers 80s stuff.I am not interested in that.I did hear some stuff from "Crayons" and, honestly, I wasn't blown away.I should let it be known that I do really like Glorias music as well. My favourite Donna song is "Macarthur Park Suite".

[SandraDee]

For me, it has to be Donna as 'Once Upon a Time' is probably my fave LP of all-time, but I love both ladies records generally & play their music all the time. However, I don't particularly have a great deal of respect for either as people 'cos let's face it, they were competent singers who got lucky by working with fabulous producers/arrangers/engineers. I could name quite a few divas from the same era that were far better singers. Both ladies have admitted in interviews over the years that they were reluctant disco acts & both have expressed negative views regarding 'the gay lifestyle'. (hey, I'm Aries & we hold a grudge, OK?!). (OMG, I'm living dangerously today).

[garrybcoston]

I vote for Donna.I love a lot of Gloria's music but I think Donna is more 'disco'. Gloria has that classic soul/Motown sound on a lot of her records which is good..but I think Donna had the genius of Giorgio to help her out. I actually really like a lot of Gloria's 'no-hit' period: I love "We Can Start Over Again".I think it was clever with the concept albums that were done for Donna and I think the songs were sexier.With their voices, I would put them on par, they are both excellent vocalists. I don't really know why Glorias success went south during the period after "Never Can Say Goodbye" and "Love Tracks"..perhaps someone can fill me in? I don't know anything about eithers 80s stuff.I am not interested in that.I did hear some stuff from "Crayons" and, honestly, I wasn't blown away.I should let it be known that I do really like Glorias music as well. My favourite Donna song is "Macarthur Park Suite".

Hey Boogie Nights....regarding why Gloria went South and Donna went "way north" when Disco began to take over, I truly believe it had to do with taking advantage of Disco at the time because let's face it...Disco was a totally new thing and new sound and Giorgio and Pete took advantage of that. I think Sandy Dee said it best, they had brilliant and super Producers, Engineers, etc. who took full advantage of their vocal abilities relative to that new (Disco) sound; I would go on a limb to say that Giorgio and Pete succeeded, and Gloria's Producers and Engineers didn't. I also think the creative aspect of the Disco Sound wound in with their vocal abilities also played a part in Donna being more successful; look at how creative all of Donna's albums were...i.e., each of her albums were different but there was no mistake about them being Disco; but if you listen to Gloria's albums after "Never Can Say Goodbye," they all basically sounded the same, and yes, had more of a soul/motown edge and feeling to them while Donna's were more disco with rock, soul and jazz elements added. Just my take on what you said. I could be wrong but this is what I think and how I see it.

Garry

[langlang]

i believe most disco fanatics know this is'nt much of a debate. while we all have a sentimental love for gloria,as she was the first disco diva, with those first two killer lps, there can be no dispute that donna outclassed her in sheer output of product-neil was working the brakes off the poor girl!- and creativity and sheer disco power of her releases. the once upon a time lp landing just in time for the holiday shopping season in'77 was sheer disco brillance. that being said, i like all of gloria's releases too. the medley on the i got you lp was camp disco heaven and park ave sound and glorious were good also. but as i said we all know who the true diva, the queen of disco, dance and pop is.miss donna summer!!!

[drlove]

With the passage of time, I think most people would argue that Donna Summer's long-term career (and impact on '70s disco) far exceeded that of Ms. Gaynor, though Ms. Gaynor has achieved certain milestones that will be hers and hers alone for the remainder of our lives:

Gloria's "Never Can Say Goodbye" was the very first #1 tune tracked by Billboard on its debut disco chart in October 1974.

Gloria's groundbreaking "Never Can Say Goodbye" LP was the very first to be specifically mixed for DJ play (with the uninterrupted A-side of "Honey Bee", "Never Can Say Goodbye" and "Reach Out").

Gloria's late-1978 "comeback" single of "I Will Survive" became a much-appreciated disco anthem that earned Gloria the first and ONLY "Best Disco Recording" Grammy.

Gloria's 1983 dance recording of the Broadway tune "I Am What I Am" gave her large gay following a Pride Anthem for the ages that still holds up well today.

As for my particular faves of these ladies .....I really like Donna's under-appreciated "Stock, Aitken, Waterman" period of circa 1989 where she recorded the stellar pop/dance productions of "This Time I Know It's For Real" and "Love's About To Change My Heart".

I also love Gloria's big 2002 dance hit "I Never Knew". Great lyrics about falling in love with a supportive friend you've had beside you all along.

Just my 2 cents !