I’ve been on a big Donna Summer kick lately, paying harder attention to overlooked gems stuck in the middle of her ‘classic’ albums. There was a time in musical history where the vanguard was the mainstream, where the biggest star was also part of the biggest paradigm shift in popular music, and the story was written by Summer and Moroder.
It of course began with “I Feel Love”, but there are a number of magnificent tracks from the same era that are formed with the basic recipe from that song. The recipe, of course, is a hypnotic, robotic, yet warm and organic computerized dance beat. Surely Moroder felt it was incomplete, as it was very much not digital. It is a freak of nature, something both artificial yet very unique, not exactly the same twice.
Two of her songs have taken on a special meaning for me lately, because of their subject matter:
“Working the Midnight Shift” is one of those electro-disco masterpieces that holds its own against the 30 years of music that came after. I’ve been working a late night temp job lately, so it has been the absolute jam that keeps me sane through these tougher times. It seems to be the first of what was several of her songs that feature the perspective of working women in arduous or thankless situations.
“I’m working the midnight shift for that extra little something, the things that are out of reach, I need so bad…”
God damn! Her voice, her inflection, the robotic drum machine, the way the song just effortlessly glides from start to finish. It is one of several Donna Summer/Giorgio Moroder/Pete Bellotte masterpieces.
“Can’t Get to Sleep At Night” has also been on heavy rotation, because I suffer from pretty bad insomnia. It’s not as “computerized” as “Working the Midnight Shift”, simply because the production value had gotten much more slick as far as the synthesizers go, but it’s still fantastic.
And, of course, there is “Our Love”, a song that almost eclipses “I Feel Love” or any other song Donna sang that had the word love in it. To me, it is “I Feel Love II” – it is no less a predictor of future genres than its antecedent. Not only is that proven true by New Order’s “Blue Monday”, a song that notoriously took its sequencing pattern from “Our Love”, but the second half of the song simply predicts the future in a way few pop songs ever have.
I still lose a bit of my breath once “Our Love” hits 4:20 – it is an absolute revelation of music. It never ceases to floor me; Donna Summer never ceases to floor me. Music like that won’t be made again.




















