EP 9 - On The Radio: Greatest Hits - Donna Summer (1979)

[00:00:00] Speaker A: I would have loved to have seen a live performance of this. Like, been there and just watched him perform this live. [00:00:05] Speaker B: Yeah. [00:00:05] Speaker A: My shirt would be off. [00:00:07] Speaker B: Yeah. Yeah, Mine would be. I would be naked for love to love you, baby. [00:00:13] Speaker A: Oh, my God. I would be clothed. I just want to be different. [00:00:19] Speaker B: I'd be naked and soaking wet. No one would know why. [00:00:28] Speaker A: Cam is not invited anywhere. [00:00:47] Speaker B: My name is Cam. I'm Nelly, and welcome to Diva Decoded. Sorry. This week, what album are we covering? Nelly? [00:00:58] Speaker A: We are covering Donna Summers on the Radio Greatest Hits, volumes one and two. [00:01:04] Speaker B: So we know what you guys are going to say. [00:01:06] Speaker A: Yeah. Like, literally shut up. [00:01:08] Speaker B: This is technically a compilation release, but we had previously done a little episode on Bad Girls but decided not to use it. [00:01:18] Speaker A: Yeah. [00:01:19] Speaker B: In favor of this. [00:01:20] Speaker A: Yes. [00:01:21] Speaker B: We figured this better represented her career and her legacy and her. And her prime. So we're gonna be going with on the Radio. This way we could kind of have a little bit of everything, because we don't know when we're gonna come back to Donna Summer, so this felt like the appropriate choice. [00:01:40] Speaker A: Also, this is our podcast, not yours. [00:01:42] Speaker B: Yeah. But I think this is our first compilation release. [00:01:47] Speaker A: I know. And, like, we're even considering one of, like, a compilation album for Tina, and we're like, no, no, we completely banned it. But for this one, we're like, yeah, yeah, this makes sense. This is going to be an exciting one, and I'm excited for it. And you'll. I think you'll be able to understand why we chose this one specifically by the end of this. [00:02:05] Speaker B: Plus, it's. It's kind of what I consider to be. I like compilation albums, especially when they've kind of become their own thing. Like, say, for example, with Mariah Number Ones, it came with her Number Ones up until that point and then came with when youn Believe. I Still Believe a Sweetheart with Jermaine Dupri. I don't know why I said with Jermaine Dupree and not with Whitney Houston for When you Believe, but, yeah, fucked. And then what else? And whenever you call duet with Brian McKnight. So she, like, added to it. Same thing with on the Radio, Donna Summer added On the Radio both the shorter single version and then the long version at the end. And then also the track with Barbra Streisand, which is so long. [00:02:51] Speaker A: Okay, but. Okay, we'll get to it. [00:02:53] Speaker B: It is. That song was 11 minutes, but I really liked it. But we're gonna get to it. So it's not just a Greatest Hits. And then also you have to remember a lot of these songs were remixed or shown in their single version, as opposed to the album version that was originally released. So it is kind of a different thing. And also, each track blends into each other, so those transitions are new. So I don't know, it does kind of feel like a bit of its own project. I think to say it's just a compilation is underselling. What. What it is. [00:03:26] Speaker A: Yeah. [00:03:26] Speaker B: So, yeah, we're gonna dive in. [00:03:36] Speaker A: So when we talk about why this album, me specifically, as many others have been fully enamored by Renaissance, by Beyonce, and I think when we're thinking of different artists to cover within the season, we knew for a fact that we can't leave out the Queen of Disco. But I think within this album, too, it's so, so, so, so nice to see also where inspiration stemmed from. From this album. And when I. When I was listening to this album, I. I thought of Renaissance, and I'm just like, why do I love Renaissance so much? And I was like, oh, maybe because of this album. And I think there's. It's such a lovely callback. There are so many lovely callbacks within this album that I think is going to. They're going to be really exciting to cover. But, yeah. [00:04:22] Speaker B: Yeah, I didn't even think about Renaissance being a callback to disco, you know? And even, like, if you look at, like, Emotions by Mariah, that is kind of a callback to disco with the piano, like, a little bit, like, just. It's inspired at least. [00:04:37] Speaker A: Definitely. Obviously, Renaissance is most closely, like, tied to, like, house and a lot of, like, vogue inspiration. But I think obviously, like, disco did stem into a lot of these sub genres as well. So, like, it's kind of like just coming back to home. [00:04:55] Speaker B: Yeah. I feel like the main attribute that gets taken is that piano. Like, if you listen to Make It Happen or Emotions by Mariah or even. Sorry, this is gonna be so basic. Break My Soul. [00:05:08] Speaker A: But it's such a good song, though. [00:05:10] Speaker B: It is a good song. There's that kind of in the, like, front and center piano, which I think is really interesting. And then even I think Drake had a song recently with it too. I think having that in there is so interesting. So for me to actually kind of go back to the peak of disco, and disco at its best was a bit of a different experience. Do you want to be real about what we thought about Bad Girls? [00:05:34] Speaker A: I liked Bad Girls. [00:05:36] Speaker B: Okay, you liked Bad Girls. [00:05:39] Speaker A: I did. I did like Bad Girls. [00:05:40] Speaker B: I thought it was okay. I thought the singles were the best parts. I liked On My Honor. I liked Sunset People, and I liked, obviously Hot Stuff and Bad Girls. Bad Girls was probably my favorite. [00:05:53] Speaker A: Oh, you liked Sunset People? [00:05:54] Speaker B: I think I did, yeah. Oh, Sunset. Wait. I don't know if that's how it goes. [00:06:00] Speaker A: I didn't. I didn't. [00:06:01] Speaker B: I liked the vibe. [00:06:02] Speaker A: Okay, interesting. I feel like the only reason I'm like, oh, my gosh. I feel like we're completely opposite with our interest for that album anyways. But, like, I really liked it. [00:06:11] Speaker B: I just found a lot of the songs blended together. So when coming to this one, I didn't know what to expect. Like, I, like. I knew it was singles and was kind of a different vibe, but I was really happy with this album and so good. Yeah, I was like, damn. Like, it really. It was a lot stronger for me. And I wasn't expecting the transitions between each song, at least for each side, because it was originally on vinyl. So I thought that was so cool, not only to have that on Bad Girls, like a new release, but to implement it into your previous songs. Like, it just made it such a. More of a whole unit of songs as opposed to, like, you know, individual tracks being put together. Yeah. So I thought that was. Was nice, but I was gagged by her voice. I was gagged by the melodies, everything. It was. [00:07:03] Speaker A: She can hold a note. [00:07:05] Speaker B: Yeah. I was blown away. I think this is one of the better singers we've cover on this podcast, and I didn't know Donna Summer could sing like that. [00:07:12] Speaker A: She's unreal. [00:07:13] Speaker B: Yeah. But, yeah, I was. I was very happy with this album, and I think it represented her a lot better for me. Like, it really hit a lot more for me. And I think also just having, like, the fun single mixes, like, those upbeat moments was. It helped a lot for me. [00:07:33] Speaker A: Yeah. [00:07:33] Speaker B: And I saw a lot more versatility, obviously, because it's a compilation, but, you [00:07:37] Speaker A: know, this one's a good one. Really excited to get into it, I guess. [00:07:41] Speaker B: This is a long track list, so we should head into it. [00:07:43] Speaker A: Yeah, this one's a. This one's a big one. [00:07:53] Speaker B: So the first track would be the title track and one of the only two new songs on the album on the radio. What do we think? [00:08:03] Speaker A: So, okay. Something about this felt very like singer in a nightclub presenting Donna Summer, and she comes out with this feathery, feathery, like, cover. [00:08:14] Speaker B: Mm. [00:08:15] Speaker A: I. Something I adore about Donna is, like, how committed she was to starting a. Starting off as a ballad, starting a song as a ballad, and being like, boom. And like, breaking out into dance. [00:08:24] Speaker B: Yeah. [00:08:24] Speaker A: And I think this was. I think this was a great opener. I really like this one. [00:08:29] Speaker B: I was, I was kind of gagged when she would do that. When she's like, oh, I'm gonna give you a ballad. [00:08:35] Speaker A: Boom. [00:08:35] Speaker B: Yeah. [00:08:36] Speaker A: So good. [00:08:37] Speaker B: Let's go. [00:08:37] Speaker A: Yeah, let's dance. Like, so good. One of my favorite parts of the song is that, like, I thought it was. So I felt it in my toes. I felt it in my Wah waha. I felt it everywhere. Okay. And I just, I literally, like, yeah. Just picturing just like her big, big curls and just like the disco ball spinning over the dance floor. Like, I like classic, classic disco moment is what I like. When I think of disco, it's this song. [00:09:07] Speaker B: Yeah, I, I thought it was very strong. Very strong opener. When I originally heard it. I didn't know it was new to this release, but, yeah, I, I, I looked at a lot. Kind of showed her versatility, switching in the beginning from the ballad moment to the, to the up jump. I was like, okay, we're dancing. I see how. [00:09:24] Speaker A: Get on your feet. [00:09:26] Speaker B: There's not many. I don't think there is any ballads on this album. [00:09:29] Speaker A: No. She got me at some point for the song later on, I thought, I thought it was going to be a ballad because the lead in was pretty long. And so I was like, yeah. But then she got me again. [00:09:39] Speaker B: Yeah, I was like, okay, beat in. It's giving. Like, have you. You seen Victorious? Like, the first episode where she's like, [00:09:45] Speaker A: you know, she's dancing. [00:09:47] Speaker B: Here I am once again. [00:09:50] Speaker A: And then she's like, let's dance. I fucking love it. [00:09:53] Speaker B: She's like, can we speed it up? Yeah, we have the choreography. We already have the choreography of Victoria. It's true. But, yeah, I think it's really fun. But, yeah, not too much to say on this one. It did very well, I think, because this is a compilation album. We'll kind of go over the chart performance a little bit when we cover these songs on the radio in the US peaked at number five on the Hot 100, which, honestly, pretty gagged. Okay. [00:10:31] Speaker A: She's her big one. [00:10:33] Speaker B: Let's move on to the next track on the album, which is Love to love you. [00:10:38] Speaker A: Oh, [00:10:42] Speaker B: this one. Oh, my God. I was like, I, I started laughing when I first heard it. I didn't. I had no idea. This was her breakout hit. [00:10:50] Speaker A: Have you seen her perform this live? [00:10:52] Speaker B: No. [00:10:53] Speaker A: I remember watching it being like, do you, do you need a moment? Like, I was like, should I Step away. Something I loved about her is that she was so. If you're gonna be a sex icon, let me show you some sex. [00:11:08] Speaker B: Like, yeah. [00:11:09] Speaker A: And I was like, yeah, girl. Like, you better hump that mic. [00:11:13] Speaker B: Like, that was. It was crazy. [00:11:15] Speaker A: It was actually like, you. There were points, I won't lie, that I was like, okay. Okay, cool. Should I. Should I. Maybe I should remove my headphones a little bit. Just a little bit. Or maybe lower the volume, But I don't know. I think I thought it was pretty country. [00:11:31] Speaker B: I thought it was fun. I was like, oh, we're doing this in the 70s. I didn't know that. I know, but I heard. I heard that it would get audiences so rowdy when she would perform it live that she actually had to stop. Like, she got heckles and stuff, like, in Italy or something. And she had to stop performing the song live because it was so. The audience reaction was crazy. And one time I caused a riot. Imagine your. Your moans causing a riot. Oh, my God. [00:11:58] Speaker A: Story of my life. [00:11:59] Speaker B: She lived my dream. But no, she's got a good moan. [00:12:04] Speaker A: Yeah, I was like, this is, like, real. [00:12:06] Speaker B: It was, like, kind of raspy. [00:12:08] Speaker A: Yeah, it was, like, higher pitched. And I'm like, this is nice, girl. It's also a great song, too. [00:12:15] Speaker B: So I'm like, sorry. It's like the. The moans are, like, so in your face. It's so hard not to talk about them. Oh, my. [00:12:23] Speaker A: Like, talk about our moans for five minutes. No, like, I feel like I. Because they're so prominent. I think it would be a disgrace to not talk about it first. Like, literally, it is in your face. But, like, the song Love to Love youe Baby, as we know, is a great song. Like, it is a great song, and you're gonna want to do some things to it. [00:12:45] Speaker B: Yeah, yeah, I heard. Also, the reason she started just moaning is because they only had so many lyrics written. So she was like, well, I have to do something that's real. [00:12:57] Speaker A: Like, it's like imagining her forgetting the words, and she's like, I'm just gonna have sex. [00:13:02] Speaker B: But the thing is, it'd be like. Like, if I were, like, a partner, it'd be, like, so hard to tell if she's faking it. You know what I mean? It's like, how do you tell now? She's so good at it. [00:13:13] Speaker A: Yeah. But I also feel like she'd be the type to not do it if she's not into it. [00:13:20] Speaker B: Yeah, that's fair. [00:13:21] Speaker A: She, like, I've seen her, like, live. I'VE seen her, like, in interviews, and I'm just like, she doesn't look like the type to fake it. [00:13:27] Speaker B: Yeah. Apparently, also from this song, it kind of, like, messed with her a little bit because it was such. Such a sexual song, and that being her breakout song kind of portrayed her differently than what she actually was. She was a little bit uncomfortable with being so sexual. [00:13:45] Speaker A: Oh, I did not know that. [00:13:47] Speaker B: Yeah. And I don't know. She had a very difficult time with her label during, like, her peak years, so. And this is partly why. [00:14:00] Speaker A: Wow. [00:14:00] Speaker B: But we'll. We'll get into that a little bit more later. [00:14:02] Speaker A: Donna. [00:14:04] Speaker B: Yeah, she. Yeah, she was like, Like, I think before releasing this, she was literally about to, like, end it all, and then she, like, a. She was in a hotel, and then, like, a maid knocked on the door, and it kind of snapped her out of it. [00:14:20] Speaker A: Oh, my God. Donna. [00:14:21] Speaker B: Yeah, she. She had a. She had a hard time. I don't remember exactly. I think she also had just moved from Europe, so, I mean, she had a kid. She had just gotten divorced or was getting divorced, so there's kind of a lot going on. That's where she got her name from. Her, her husband, Summer. Summer, or. And then she changed it, so. Yeah. Wow. [00:14:44] Speaker A: I did not know that, actually. [00:14:45] Speaker B: A little history fact. [00:14:46] Speaker A: Donna Summer and, like, transparently has been a bit of an enigma to me. Like, I, I. I don't know too much about her. I know more about her artistry as opposed to her as a person. I do know that she passed away in the. In my birthplace, Naples, Florida. I do know that. [00:15:01] Speaker B: Oh, yeah. [00:15:02] Speaker A: Yeah. That's all I know. [00:15:03] Speaker B: I didn't know it was there, but I knew. I knew she passed away. It was because of. Sorry, we're gonna get back to the album. It was because of. She said, according to her, it was because she was there during 911 when the towers fell and she got asbestos in her lungs. [00:15:21] Speaker A: Yes. Oh, I do. I do know about that because she. She passed away. It wasn't, it was. It wasn't natural causes. It was, like, actually, like an illness. [00:15:28] Speaker B: Yeah. It was lung cancer. [00:15:29] Speaker A: Right. [00:15:31] Speaker B: So. [00:15:31] Speaker A: Holy crap. [00:15:32] Speaker B: Yeah. Apparently that's why they. She wanted to make it clear it wasn't from smoking, but, yeah, very sad. So it's crazy she was there that day. [00:15:40] Speaker A: Yeah. [00:15:41] Speaker B: She was a New York girly, it seems. [00:15:43] Speaker A: Love you, Donna. Love you, Ms. Summer. [00:15:45] Speaker B: Love you, girl. [00:15:47] Speaker A: Love to love you, baby. All right, so the next song, the next track on the album is Try Me. I know we can make it. What do you think, Cam? [00:15:55] Speaker B: I thought it was cute. Like, there's. There's no track on this album where I'm like, this is, like, so bad. Or like, this is, like, the outlier and it doesn't belong. But, yeah, it wasn't really as memorable for me. I'm like, trying to remember it. And like I said, I, like, listen to it a lot. This album. Like, a lot. Preparing and. Yeah. I. Huh. What is this one? [00:16:19] Speaker A: It was kind of giving filler accomplish. [00:16:22] Speaker B: Now I'm having fillers Gray. [00:16:23] Speaker A: Yeah, it was. I. I feel like it'd be one of those where, like, you're just chilling out. Like, you're like. This is one where you're just like. You just have in the background. Or if you're specifically, like, trying to, like, make, like, a 70s film and you're, like, looking for, like, inspiration. Like, you Google 70s, like, disco music. [00:16:42] Speaker B: The vibes are cute. Like, don't get me wrong, but it went to number 80 on the US Billboard Hot 100, but number one on the dance chart. So I'm. It makes sense why it's included, but. But it also makes sense why it's a little bit forgiving. [00:16:58] Speaker A: Yeah. I'm like, okay, cool. Like, I don't hate it. I think it's like a nice little groove. But this one isn't one that stands out to me. [00:17:06] Speaker B: Yeah. Shall we move on? Let's do it to I Feel Love. [00:17:10] Speaker A: Ah. Remember when I talked about Renaissance? [00:17:13] Speaker B: We're gonna come back to that. [00:17:15] Speaker A: This. You know, for those Renaissance fanatics who might not know that Summer Renaissance is a direct takes, direct inspo from I Feel Love. That's why we love the song, babes. Like, this song is so good. It's one of those that, like, feels. Almost feels experimental as well. The doot doot doot doot. Like, it feels like alien Y or like we're getting into new age technology sort of thing. [00:17:39] Speaker B: I love, like, the very fast electronic bass line. [00:17:44] Speaker A: Yes. [00:17:44] Speaker B: I love that shit. [00:17:46] Speaker A: This song makes me feel. Makes me think of xenon girl, the 21st century vibes. Ever watch that movie? [00:17:52] Speaker B: No. [00:17:52] Speaker A: Oh, my God. It's a beloved Disney movie. But yeah. No, I just think of, like, that song feels like the dawn of technology. Like, literally, I'm like. I feel like I'm, like, rising and like, robots. [00:18:05] Speaker B: Yeah. [00:18:06] Speaker A: What? [00:18:06] Speaker B: I mean, I feel like this album, it has, like, such, like, interesting imagery for me. For me, like, I think of the album cover. We'll get into the album cover a little bit more. But it makes me Think of like New York and like the 70s, you know, in a sunset moment and like, just like gorgeous, Gorgeous. Like pink lighting. [00:18:26] Speaker A: Yes. [00:18:27] Speaker B: You know, like. Like the album cover. So I'm like. I don't know, I'm. I'm pretty. Like, I like the vibes that it's putting down. This one of the songs that give it to me, this song, like, I know it was a hit. It went to number six on the Billboard Hot 100 and also went number one on the Dance charts. So it's a bonafide hit. But at the same time, it's like, you know, I'm from 01. Like that's where. That's when I was born. So. And this just seems like a song I've always known of or I've always heard. So I like. I think that's the. The marking of a great song, you know, whether it's true or not. It feels like it's always been there and you've always heard it. So. Yeah, it's. It's just. It's such a highlight and such a classic too. Good. That being said, are you ready to move on to the next track on the album, Our Love? [00:19:18] Speaker A: Yes. Shall we? I mean, yes, we shall. This song was great. We talk about visuals. I think of a car wash when I hear the song. [00:19:30] Speaker B: I was thinking of the, you know, car wash. I know it's not originally from Shark Tale, but I'm gonna talk about that version with Christina Aguilera and Missy Elliott. Yeah, the Shark Tale version. O my God. That's all you small tuna fish. That's one big catch. [00:19:44] Speaker A: That's so good. [00:19:45] Speaker B: But yeah, sorry, I don't know why I just brought that up. Cause you mentioned a car wash. But I mean, car wash is pretty disco now that I think about it. [00:19:52] Speaker A: Yeah. [00:19:53] Speaker B: Oh my God, Christina's vocals. [00:19:58] Speaker A: That was good, eh? [00:19:59] Speaker B: Yeah, you sound. You sound just like that. [00:20:02] Speaker A: She's our surprise guest today. [00:20:04] Speaker B: She's here. Christina, come on out. [00:20:07] Speaker A: Come on, girl. Get out of the bathroom. But yeah, no, this one. This one is. Her voice feels so mature in the song, like. [00:20:15] Speaker B: And so strong. [00:20:16] Speaker A: Like it, like, so rounded and like. It made me think of Tina a [00:20:20] Speaker B: little bit for a lot of the songs on this album. It made me think of Whitney Houston just with the power, like, in a lot of ways, she does sound like Whitney on some songs and this was one of them. And even just production wise, I love the hook in the chorus. I love will last Forever. And the. How it goes from being so heavy with the instrumentals. And all this stuff going on to it just being kind of sparse with the, with the drum beat. [00:20:46] Speaker A: Yeah. [00:20:47] Speaker B: And then her singing in that part. It's just a hook that does something in my brain. [00:20:52] Speaker A: Yeah. [00:20:53] Speaker B: So I love that shit. Like, I don't really remember this one from Bad Girls, but it actually is so good. Maybe this is a different version or a remix. But yeah, this is, this is such a good song. [00:21:06] Speaker A: I'm. I love that you mentioned the whole like parts with just the drums. Like that part, like those parts make me think of like taking off my jacket. Like I'm getting to work. Like, literally I'm like, okay, now it's time. Like it's just like, oh, so fucking good. I also love like how simple the, like the pads and the like in the main parts of the song are like pretty simple. But really the song really gets me. [00:21:32] Speaker B: There's a lot of really good, interesting sounds throughout this whole album. And I know for some of these it's because it was a single mix or a remix. Like even on Hot Stuff there was different instrumentation, which we'll get to. But I know that, I only know that because we, we covered Bad Girls and then, you know, shelved it. But that's okay. We're back. [00:21:54] Speaker A: We didn't release Bad Bad Girls as an album actually. At all. [00:21:57] Speaker B: No, it's gonna be in the vaults. Sorry guys. We know you want it so bad, but. Yeah, I just thought this was a really, a really strong moment. And, and on this album too, there's a lot of really good like strings. And they don't sound dated, they just sound awesome. Like that's the thing about this album. And even the single mixes of these songs and maybe just these songs in general, it never comes across as 1984 by Tina Turner. We're gonna on that song forever. [00:22:26] Speaker A: Yeah, unfortunately, that one was one that I, I. Oh no, Tina. What were we thinking? [00:22:33] Speaker B: 1984, let's go. [00:22:36] Speaker A: I don't remember, but you kind of got it. Cuz it's supposed to sound like Ghostbusters, so that makes sense. [00:22:41] Speaker B: That's fair. Oh, jinx. [00:22:44] Speaker A: You me a soda. That's how it works. [00:22:47] Speaker B: I said jinx though. [00:22:48] Speaker A: I don't care. [00:22:50] Speaker B: Okay. [00:22:52] Speaker A: Yeah, no, this one is really, really good. I also like, I feel like this is one of those where like, like if I were to invite a date over and like, I'm just like, we're like getting ready to go somewhere or something. And like I play this song and I imagine my date being like, what do you know about this song. And I'm like, oh, my God, you know the song, too. And it's like one of those that you're like, if you know, you know. [00:23:17] Speaker B: Yeah, this is what you play. You play our love. If you're trying to, like, pump up for the date. Yeah. And you play love to love you, baby. At the end of the date if you want to get going. [00:23:26] Speaker A: Oh, my God. We killed round two. [00:23:33] Speaker B: All right, shall we move on to the next track and side two? So basically, all the songs previously have flown into each other now. This kind of, like, a little break moment. Because it's the end of side one. We're going to side to the beginning of side two. Starts with I remember yesterday, banger after banger. [00:23:54] Speaker A: Ms. Donna, come to the mic. Come to the front. Okay. I. Something I love. I love a good moment where you listen to, like, different albums and you can hear, like, them try something new. I'm like this swing moment. Like, girl, this is so fun. For this song specifically, I feel like she's making her vowels less rounded and open and just more, like, pointed and, like, in the style of, like, a. Like a. Like a whistle almost. Yeah, Like Ella Fitzgerald a little bit. And this. This song is just too good. I. I feel like I'm just, like, tapping my toes. Like, this is, like, a fun one to, like, play. Like, I feel like I would play. I'd play with my parents, and we'd, like, dance to it in the kitchen. [00:24:34] Speaker B: Yeah. This makes me want to, like, bust a groove while being, like, dressed like Dorothy. I don't know why. It's. It's. It just kind of. It's such a creative way to use the vibe of, like, the 30s and 40s. [00:24:46] Speaker A: Yeah. [00:24:47] Speaker B: But in a modern way and in a timeless way, because this song isn't new either. But I think all of these songs do have, like, a sort of timelessness to it. And, yeah, it's, like, real classic. Just. It just. You know, we've said before, quality music is not time stamped. You know, it may sound a little bit dated, but it should last the test of time. And I think this is one of those songs where that rings true. [00:25:17] Speaker A: So cute. This one is, honestly, I think maybe the cutest one on the album. [00:25:21] Speaker B: Yeah, no, this one was great. It was another number one on the US dance chart, but didn't chart on the Hot 100. [00:25:29] Speaker A: Yeah, that's freaking disrespectful, dog. [00:25:31] Speaker B: Well, the thing is, with a lot of these, it's hard to tell if they released them to be eligible. But usually they would. So I'm not sure. I'm not sure. I have to do my. I have to go to history class on this, but shall we move on? [00:25:44] Speaker A: The next track on the album is I love you, Cam. Do you love me? [00:25:49] Speaker B: Of course. [00:25:50] Speaker A: Do you love this? [00:25:51] Speaker B: I do. [00:25:52] Speaker A: Okay, good talk about it. [00:25:53] Speaker B: Yes, I do. I think. I think it's really cute. I love the. If you hold out a long note. Yeah, you got me. [00:26:02] Speaker A: Yeah. [00:26:03] Speaker B: Like, that's, like, even, like, Vision of Love by Mariah Carey. You have me. [00:26:06] Speaker A: Yeah. [00:26:07] Speaker B: You go be. Yeah. Yeah. [00:26:11] Speaker A: No, like, literally, I was trying. I was like, I. I love you. Like, I can't. It's like, wow. [00:26:17] Speaker B: She really holds it for a long time, and it's one after the other. [00:26:20] Speaker A: Yeah. [00:26:21] Speaker B: I think this is such a fun track. Again, very catchy. Great instrument instrumentation. Strings are probably the highlight for me. So. Yeah, I. I think this was a really strong one. [00:26:35] Speaker A: I love the wind chimes. The wind chimes are so nice and, like, feel so sensual. But, like, also, like, it just. I. I do picture, like, her maybe in her dressing room, like, getting ready for a big concert, like, big performance. And I don't know, like, this one. This one does feel nice. This does feel really, really good. I also love the repetition at the end. Like, you would think it would get tiring hearing that I love you and repeat, but I'm just like, I. I feel it. I feel the passion in it. [00:27:04] Speaker B: Yeah. [00:27:05] Speaker A: And, like, the background vocals, too. [00:27:06] Speaker B: Like I was gonna say, the backgrounds are so nice. [00:27:08] Speaker A: Yeah. [00:27:09] Speaker B: I love you. I love you. [00:27:10] Speaker A: You know, it feels like her girl's hyping her up. You know what I mean? But, yeah, this one's a really fun one. [00:27:16] Speaker B: Yeah, it didn't chart on the Hot 100, but went to number one on the dance chart, period. The next song is Heaven Knows, a duet with Brooklyn Dreams. [00:27:27] Speaker A: Cam, what'd you think? [00:27:29] Speaker B: I thought it was cute. I thought. I really liked the singing in this one. To me, this one was very vocally impressive for Donna. Even though the Brooklyn Dreams do sound good, this is definitely, like, her moment. It kind of reminded me like. Like, the production wise, it is so disco. But vocally and melody wise, in terms of what they're singing, it's. It's kind of like R and B a little bit. I don't know. It's just like, I can see what you mean, like, and I don't mean, like R and B in, like, a sexy way. I mean it in, like, I don't know, like, I don't know how to explain it. [00:28:02] Speaker A: I think lyrically for me, like, I think it's what's giving R and B a little bit. I feel like with the songs before, it's giving very much so. Just, like, I'm so in love and, like, let's just run away together. With this one, it's like, please don't leave me. And, like, there's a little bit of, like, bluesy element to it with that, too. I don't know if that's what you're talking about, but I do see that from that perspective. [00:28:27] Speaker B: I don't know. I think also because it's a vocally demanding moment, that maybe. Maybe that's part of why it kind of reminds me of, like, almost the same vibe as kind of saving on my love for you from Whitney, but with a totally different beat behind it. But, yeah, her vocals get really big here. And, you know, I think this is another one that kind of sounds like Whitney in a good way. That's always a good thing. Just clear, you know, if you have a lot of power. And yeah, these are. This is one of the ones that surprised me, as well as the next one, which we'll get to. But, yeah, I thought it was great for all my. [00:29:03] Speaker A: The fighting temptation stands out there, which will be two people. I remember first. I actually first heard this song in. There was like, a montage moment at the beginning of the movie where Cuba Goody, Jr's child character, is running away from a town with his mom because the church doesn't accept them. Oh, she. She, she. She's a burlesque singer or something. And so the church is like. It's either you give up burlesque or you give up the choir. And she's like, I'm giving up the choir. So then they run away together, and, like, they're going into nightclubs and she, like, covers the song. And that was my first relationship to the song. So whenever I think of the song, I think of, like, a train. Think of, like, the train. Like, the movement of, like, looking out of the window, but not, like, in a ballady way, which is interesting because whenever you think of looking out a window, you think of, like, the rain. The rain. Or like, even, like a 2000s pop moment where you're like, your head is on your shoulder or whatever, pondering. But, like, this one is, like, you're on the run sort of way. It's like, sort of thing. You're either running towards your lover or, like, you're running away from a guy who you thought Was your lover, but you're running to your actual lover. Like, it's like. I don't know, I just like, I think of, like, on your way to, like, you're. You're escaping something in a way. [00:30:21] Speaker B: Yeah. And you're on acid. [00:30:22] Speaker A: That. Yeah. [00:30:24] Speaker B: That's what the 70s vibe is giving. [00:30:26] Speaker A: That is true. Yeah. That is. It is. It is. It is drug induced for sure. Maybe that's why I love the song so much. Like, they put crack in it. [00:30:34] Speaker B: Yeah, I think they did. [00:30:35] Speaker A: Yeah. This one is. This one is actually one of my. My highlights, I think, for the album. Yeah, I love it. [00:30:41] Speaker B: No, this was a. This was a very solid track, but I'm excited to get into the next one. Are we ready for Last Dance? [00:30:49] Speaker A: Last Dance. [00:30:51] Speaker B: Last Dance. This one was incredibly strong, especially vocally. And we know on this podcast, Cam loves a good vocal moment, and I'm sure Nelly does too. [00:31:04] Speaker A: Like, you need to sing good. [00:31:05] Speaker B: Yeah. [00:31:06] Speaker A: You need to sing well, and you [00:31:07] Speaker B: need to sing hi. You need to give us moments. [00:31:09] Speaker A: Yeah. [00:31:10] Speaker B: Like, for me, doing a good high note is one of the most exciting things you could do in music. It's just. There's nothing more iconic. [00:31:21] Speaker A: Yep. [00:31:21] Speaker B: Then let me hit this big note and do it well. So when she hits the big note in this song, I was gagged. I was like, I didn't know she could do that. Yeah. Honestly, like, her voice, like, I don't mean to compare to other artists, but vocally kind of reminded me of Celine a little bit with the just, you know, hearing a little bit of the rasp. Like, it wasn't crystal clear, but in a good way. [00:31:46] Speaker A: Yeah. [00:31:47] Speaker B: You know what I mean? So. Yeah, I thought this was great, and I was blown away by what she did with it. Yeah. [00:31:54] Speaker A: This one's a really, really, really strong one. It's interesting you did say Celine because now I can see that. I can see that. [00:32:01] Speaker B: Yeah, I. [00:32:02] Speaker A: It's interesting. Like, there are so many moments like, as, you know, like, we always call back to our lovers, like, within the big three. And I'm like, seeing it in different ways for somebody like Donna Summer, too, is just so strange to me. I'm like, I would have never thought to compare to Whitney. And I'm like, you're talking about them. Like, yeah, that does make sense, actually. But, like, it all comes from the power. [00:32:22] Speaker B: Yeah. [00:32:23] Speaker A: It all comes from also the control. Like, the amount of control you have to have to be like and not waver or like, anything. Like, every moment of, like, even fallout that she does. Like, it's like, it's never, like, wavering. There's always a sense of control. She knows where she's going at the end of the note. [00:32:41] Speaker B: Yeah. [00:32:42] Speaker A: I think that's like a struggle with a lot of singers is that they don't know where they're going at the end of the note. She knows exactly where she's landing. And I'm like, this song too, like, shows it really, really well. And just like, she knows what she's ramping up to. She knows how she's going to fall from it. She knows where she's going, man. [00:33:00] Speaker B: Yeah. [00:33:01] Speaker A: Love this. Love this song. This song is so good. [00:33:03] Speaker B: She ate with this one. This. I mean, these are all amazing. Like, I was very happy with the whole album, but yeah, this one. Oh, I didn't know she could do that. [00:33:15] Speaker A: Like, okay, girl. [00:33:16] Speaker B: Yeah. Should we move on to the next track? First track on side three, MacArthur Park. What do we think? [00:33:24] Speaker A: This song, this cover, mind you, I just love how she puts her spin into it. The same way that I was obsessed with how Tina Turner covered Help and put her own twist onto it. I loved. I freaking loved what Donna Summer did to the song. [00:33:39] Speaker B: I had never heard the original, but the original is sung by Dumbledore. [00:33:44] Speaker A: Yeah. Just learned that from Cam. That is wild. [00:33:47] Speaker B: Because I was like, Richard Harris. Why is that familiar? And then I was like, oh, shit, that's fucking Dumbledore from the first two Harry Potter's. But then he died, so they replaced him with Michael Gambon for the rest of the films. [00:33:59] Speaker A: Oh, really? [00:34:00] Speaker B: Yeah. [00:34:00] Speaker A: Oh, my God. I don't. I've never watched Harry Potter. [00:34:02] Speaker B: What the fuck? [00:34:03] Speaker A: I've watched 20 minutes of number four girl. [00:34:07] Speaker B: That's like the worst one. Sorry, the book's better. [00:34:11] Speaker A: So what I was talking to Cam about was that, like, this song was always. I felt like was used as a parody so many times. I don't know if it was like, using commercials, but I remember, like, my first memory of the song actually was in Fresh Prince of Bel Air. Did you ever used to watch Fresh Prince of Bel Air? [00:34:26] Speaker B: I've seen a few episodes, but it was never like. I never, like, watched the whole thing religiously. [00:34:30] Speaker A: There is this one episode specifically where Will and Carlton are stuck in a prison cell and this guy is in there singing the song. [00:34:39] Speaker B: Oh, that's so funny. [00:34:40] Speaker A: And it's like this big motor, like, cyclist dude who's like, whatever, but he turns out to be a lovely singer and. And he's just singing the song. So. Yeah, the song was always Kind of just used. Like, when I heard the song, it was never used in a serious manner. So, like, hearing it so passionately, seriously, I'm like, oh, that's new. And then also with disco coming into it. And I just love something I love about her, too, is that, like, as we mentioned before, is that, like, she does the lead in from the ballad into the upbeat part of the song. [00:35:15] Speaker B: And she ate with this one. [00:35:16] Speaker A: She really did. And, like, she knew what she. Yeah, and she knew what she was doing. Like, literally, it sounds like. Like when she goes from the ballad into the. To the upbeat part, like, it sounds like a witch's cackle. Like, like she knew. She knew what she was doing. Or like. [00:35:33] Speaker B: Yeah. And you know how you said, you know where she's going? Yeah, same thing here. [00:35:37] Speaker A: She. [00:35:37] Speaker B: She holds that note really, really long, high note, by the way, the. Also the contrast between the softer versus moments and then going into the. Yeah, that hits so hard. But, yeah, I think so. She holds it out so controlled the whole time. And then, like you were saying, she was. Ah. [00:36:01] Speaker A: She knew what she was doing. And even, like, when she does it again, and then it sounds like she's melting. Like, it just. It felt very Halloweeny. [00:36:10] Speaker B: Yeah. I love the theatrics. You know, don't be afraid to be a little theatrical in pop music or disco in this case. [00:36:18] Speaker A: I love the drama. Bring the drama. [00:36:20] Speaker B: Yeah. Give us. Give us something to talk about, you know, like, I'm here for it, but yeah, I. I thought this was a great track. And another vocal showcase. [00:36:31] Speaker A: So good. Like, so, so, so good. 10 out of 10. [00:36:36] Speaker B: Also, MacArthur park, believe it or not, was a number one in the States, which is awesome. [00:36:41] Speaker A: Interesting. [00:36:42] Speaker B: Amazing. She did that with a Richard Harris song. I don't know how well his version did, but hers eight. Well. [00:36:50] Speaker A: Oh, my God, I was about to say. Richard, your dust. [00:36:53] Speaker B: No, no, girl. [00:36:55] Speaker A: All right. [00:36:55] Speaker B: But a number one's not something to shake a stick at. You know what I mean? That's a big deal. [00:36:59] Speaker A: That is true. [00:37:01] Speaker B: Let's move on to the next track on the album. [00:37:04] Speaker A: Hot stuff. [00:37:10] Speaker B: I need some hot stuff. [00:37:16] Speaker A: Give it to me. Cam, What do you think? [00:37:23] Speaker B: Oh, my God. I thought this was great. [00:37:26] Speaker A: Yep. [00:37:26] Speaker B: Like, I thought this was a great song. This is such a fun one and so iconic. This is her signature song. Yep. This version is slightly different from the album version. Has some different instrumentation layered on top, just a little extra bells and whistles. So help it, help it do well at the radio stations on the airwaves. So, yeah, I Do think I preferred the album. Album version, but I liked the additions. I think it's always fun to have a single version have some differences. So I thought that was really cute. I mean, vocally, it's amazing, as usual. But, yeah, this is, like, very iconic. This is such an iconic song. [00:38:04] Speaker A: This. I also. I love the minor key. I. I really do love a minor key moment. And like, when you think of minor, you think of melancholy or, like, sadness and like a ballad. But I'm like, in a pumped up song, it makes. It adds a level of grit to it that, like, I literally feel hot when I'm like, both in temperature and also in looks like when I'm singing the song, like, it feels like leather jacket. Like, dark feminine. Like, like as dark feminine as it gets. And she is somebody that, like, I wouldn't like you. I wouldn't really associate with dark feminine. Like, that level of. That style of femininity because of, like, just her look too. Like, she was very soft. Like, she had very soft features. [00:38:49] Speaker B: Right. [00:38:50] Speaker A: And, like, her hair. Like, she was. She had this glow about her that was very soft. And so this song is like, even like the. The. The COVID art for the album. Like, it. She looks different. Like, she's like, gritty and like. Like, literally, like. Like a cat. [00:39:04] Speaker B: Do you mean the. The Bad Girls album cover? [00:39:07] Speaker A: Yeah, yeah, yeah. Like, the COVID art is, like, different from the COVID art we see here, too, is like. It feels like a bit of a shoulder moment that's like, not, like, innocent, but, like, gritty. [00:39:17] Speaker B: Yeah. And she thinks she's with the cop in the background. [00:39:20] Speaker A: Yes. [00:39:21] Speaker B: Which is also iconic. That's. This is an amazing album cover for. For the album Bad Girls. Also something we need to talk about, which I didn't really understand until I listened to this and the next song, Bad Girls, in the context of this album versus Bad Girls, where we originally heard it. [00:39:44] Speaker A: Yeah. [00:39:45] Speaker B: This is a rock song. Is this not a rock song? This is not giving disco in the same way that the previous tracks were. This is very rock. [00:39:57] Speaker A: Yes. I will. I will say that the other songs were very disco. Were like, very, like very fundamentally disco. I do see. I do hear. Hear some disco notes like within this. [00:40:10] Speaker B: These songs, they're still disc. [00:40:11] Speaker A: But this is very rock. Yeah, this is very rock. [00:40:13] Speaker B: They're the. It's definitely still there. Like it, of course. But it is so different at the same time. I wouldn't say it's as much of a departure as, you know, in our Rhythm Nation episode when we were talking about Black Cat. [00:40:28] Speaker A: Yeah. [00:40:29] Speaker B: And how crazy different that was from the rest of the album. I don't think this sits that way in terms of this compilation release, but I will say it does give a bit of a different vibe, which I appreciate. Yeah. You know, giving some variety. And clearly the general public did, too, because it went number one. So. Yeah, I think they ate. [00:40:54] Speaker A: They really did. Yeah. Like, as you said, like, this is her defining track. Like, this is like, when you think of Donna's Summer, you're probably going to think of Hot Stuff. [00:41:02] Speaker B: Yeah. [00:41:02] Speaker A: And it lives up to the name. Like, it's. It's a fantastic track. Like, it's something that I'm like, well, this entire album does like it. It doesn't let you just sit on a couch. It's one of those where, like, you're probably doing something while this. Like, it's either you're not just chilling with these songs. These. These next two songs specifically, like, these are the ones where you're like, either getting ready to go somewhere or you're doing, like, you're doing an actual. So, yeah, this one is. This one's fantastic. [00:41:30] Speaker B: This one was amazing. Should we move into the next track? [00:41:35] Speaker A: Bad Girls. Girls. You know my introduction to the song? [00:41:41] Speaker B: No. [00:41:42] Speaker A: Sister Act 2. There's a cover that Sister Mary Clarence does. I'm telling you, Sister Act 2 is everywhere. It's. It's. You can't. You can't even. Even you try to hide, it's gonna find you. [00:41:56] Speaker B: Yes. [00:41:57] Speaker A: And you should be grateful. No, this song, Bad Girls, again, like, it's another. It's. It's similarly to Hot Stuff. Bad Girls is. Lives up to its namesake, like, even of the album. Like, it's a great title track. Yeah, it's a really, really. And it's. I like something about the background vocals. Like, it's. [00:42:19] Speaker B: I loved that. [00:42:20] Speaker A: So good. Like, it's no classic, like, just three part harmony. It's like actually like some grunts or some like. Like. [00:42:28] Speaker B: And the whistle. I love the whistle. [00:42:29] Speaker A: Oh, my gosh. And it feels. It feels like a. Like a. Like a skater club. Like an all women skater club that's like. Like fighting for the streets. [00:42:37] Speaker B: It's so fun and kind of weird in the same way that, again, bringing up Janet Jackson, all right by Janet Jackson has some weird instruments in it. [00:42:45] Speaker A: Yeah. [00:42:46] Speaker B: Towards the end. And I really liked that. I really appreciated that. Yeah. This. I remember this being my favorite from the Bad Girls album. So when it came up here, I wasn't surprised with how awesome it was. Yeah, I was pretty Gagged. [00:43:02] Speaker A: This one is great. [00:43:03] Speaker B: This one too. The instrumentation is so fun. There's vocal moments. There's everything that you're kind of looking for. And, yeah, it makes you want to shake your ass. [00:43:15] Speaker A: Yep. [00:43:15] Speaker B: Like, it's. [00:43:17] Speaker A: It's. Yep. [00:43:18] Speaker B: It's so groovy and in a totally different way that Hot than Hot Stuff is. Yeah. Like, I definitely wouldn't say this is rock, but this also is not the same vibe as her previous hits that we've talked about today. So, yeah, it's such an interesting, interesting track. Definitely one of my favorites. [00:43:37] Speaker A: This one. The trumpets leading into the chorus. Like the. Oh, my God, the bridge. Like, dun dun, dun, dun, dun. Like in the drum. Just the. The. I. You know, I love a good strip back. Like, just the drums moment. And she fed me. She really did. This one. It feels like one of the most, like, the fullest songs that I. That we've heard. It just feels so full. [00:44:02] Speaker B: Yeah, but in a good way. [00:44:03] Speaker A: Not. [00:44:03] Speaker B: Not like there's too much going on. But. [00:44:05] Speaker A: No, no, no, no, no. [00:44:05] Speaker B: It just feels, like, so complete and, like, such a staple. Like, so strong. Like, you know you want those strong songs for your albums, and this is, like, the definition of what you're looking for. [00:44:22] Speaker A: I would be interested to know how long they put, like, it took to complete the song, because I'm like, this is the song that sounds like they put the most amount of time in, to be honest. Like, it sounds like a year's worth, honestly. [00:44:34] Speaker B: Of, like, there's just so much going on and it's so tight. [00:44:37] Speaker A: Yes. [00:44:38] Speaker B: Like, production wise, too. It's amazing. [00:44:40] Speaker A: 10 out of 10. [00:44:41] Speaker B: I actually think I like this one better than Hot Stuff. [00:44:44] Speaker A: I do too. This one is. This one's really, really good. [00:44:46] Speaker B: Do I think it's as iconic? I wouldn't say I do, but definitely, definitely. My. My favorite of the two, by the way. Bad Girls and Hot Stuff Both went number one on the Billboard Hot 100 and of course, the dance chart. So, yeah, a lot of success. This is probably her biggest era of her career. Shall we move on? [00:45:12] Speaker A: Dim all the lights. [00:45:14] Speaker B: What do we think, Nelly? [00:45:15] Speaker A: This one is fun. This one is really, really, really fun. I also. This is one of the ones that I thought was, like. I thought it was gonna be a ballad. [00:45:26] Speaker B: Yeah, me too. [00:45:27] Speaker A: And then she really did get me and something again that I love is the lead in into the upbeat. Like, she nails it every time, but, like, something like how long she held that note, like, so full and sustained. There's not a moment like, you're trying to listen for a moment where her voice, like, just like a subtle crack or something. It feels like it sounds like auto tune before auto tune. [00:45:55] Speaker B: Yeah. Her vocals are so precise and beautiful. [00:45:59] Speaker A: Mm. [00:45:59] Speaker B: And there's so much personality. [00:46:02] Speaker A: Yeah. [00:46:03] Speaker B: So, yeah, she. She does very, very well. Like I said vocally, I was shocked. Like, I. You just, like. I don't know. I. I think more disco than a vocalist when I think of Donna Summer, but this definitely changed that for me. [00:46:19] Speaker A: Yeah. [00:46:19] Speaker B: She basically more sold disco with her instrument, which is. I don't know. I think. I think she's amazing. This is definitely the most I've enjoyed her in my life going through this album. [00:46:30] Speaker A: I'm glad. [00:46:31] Speaker B: But, yeah, no, I was, like, super, super happy with it and was excited to keep on listening to it. Yeah. So, yeah, this one. This one was awesome. [00:46:41] Speaker A: I don't have much to say about other. The fact that this one is just really fun. [00:46:46] Speaker B: Yeah. Like, I don't think it's. Like, I don't think it's the strongest of. Of the album, but I think it's good. [00:46:52] Speaker A: It's also, like, you would think Dim all the Lights, you would think that it would sound more sultry than it is. [00:46:59] Speaker B: Yeah. I didn't think the moaning one would sound like that. Like, I thought that was just gonna be, like, a fun moment. But, no. So, yeah, maybe cut that out. Maybe cut that out. [00:47:14] Speaker A: But, yeah, no, Like, I feel like the moaning would apply to this song. [00:47:21] Speaker B: All the Lights. [00:47:28] Speaker A: All right. [00:47:28] Speaker B: By the way, Dim all the lights went number two on the Billboard Hot 100. [00:47:33] Speaker A: Let's go, Donna. [00:47:36] Speaker B: Like, this was her era. [00:47:37] Speaker A: Like, yeah, there's. Nobody could challenge her. Like, I was like, this is great. This is. She's winning. [00:47:43] Speaker B: Yeah. She was really, really huge at this time. That being said, do you want to go into the next track, Sunset people? [00:47:51] Speaker A: What did you think? [00:47:52] Speaker B: I thought this one was cute. I remember liking it from Bad Girls, and I liked the vibe of it. You know, we're talking about a little sunset moment. Yeah, a little New York sunset. But, yeah, I don't know. I don't think it was the strongest. Like, I definitely like the two big hits from Bad Girls better, but I thought it was cute. I liked the vibe it gave. It's a decent. It would have been a good album track, but making it a single is like. I mean, they had to choose something. But, yeah, there is a bit of a drop in quality compared to the Bad Girls and Hot Stuff, I would say. [00:48:32] Speaker A: I don't love this one. This one, it. It took me actually listening to it a few times to actually, like, ring in the song in my mind. So, like, I don't know if it has as much replay value as the other ones. Similar to what you mentioned. I think having it on this side, too, definitely made it actually stand out as the weakest. Yeah, just, I'm like, yeah, I feel like it could have done without it. [00:49:00] Speaker B: Yeah, I feel like they probably just included it because it was a single. Like, there are some other songs that, like, this song didn't chart at least on the Hot 100. I don't believe it's. It did well on the dance chart either, so. Yeah, but I feel like they just included it because they could because it was a single sometimes. Sometimes that does happen on compilation albums because they're like, well, we have four sides to fill. So true. Sorry. But yeah, also, I don't really think the chorus really went anywhere. Like, like, it really stays one place. Like, it doesn't really go anywhere. [00:49:39] Speaker A: It's also, like, the messaging, I think, is a little all over the place as well. Just slightly. So, like, I, I, I can't even speak on it. Like, from a lyrical standpoint, actually. [00:49:49] Speaker B: Yeah. Like, you guys know at this point, lyrics aren't my forte. [00:49:54] Speaker A: Real used to be either. Funny enough. Like, for me, like, I, I didn't. I don't know what the words are. I still am not good with words, really. But, like, I think starting this podcast actually made me look at the lyrics, like, a lot more because I'm like, [00:50:10] Speaker B: we'll do that in season two. [00:50:12] Speaker A: Oh, my God. Surprise. [00:50:13] Speaker B: Twist. I'll read it. I'll read it instead. [00:50:16] Speaker A: Slam pouch, right? [00:50:18] Speaker B: Yeah. Yeah. So that is the end of side C. Now we're moving on to side D. And there's only two tracks on the album, and we're actually only going to cover one because the last track is on the radio. The full long version, which we already kind of covered with the first track on the album. I'm not sure why they included two versions. Maybe just because it's the title track. But we're going to be moving on to no More Tears, Enough Is Enough, the duet with Barbra Streisand, babs. It is 11 minutes and 43 seconds long. [00:50:54] Speaker A: We're gonna talk for 11 minutes about the song. [00:50:56] Speaker B: We will. And It's a number one. So another. Another number one for Ms. Donna Summer. What do we think, Nelly? [00:51:04] Speaker A: I'm just gonna clap. That's all I'm gonna do. Can you hear it? Hold Up. Come to the front. [00:51:15] Speaker B: Yeah. Can you guess who's claps was whose? [00:51:18] Speaker A: It was Mo the cat. No, this. Their voices together. Unreal. [00:51:26] Speaker B: Yeah. And Babs during this time, such a strong singer. I always think of her when I think of her at her peak. Her. When she sang with Judy Garland. [00:51:36] Speaker A: Oh, yeah. [00:51:36] Speaker B: Happy days. Get happy. [00:51:38] Speaker A: Yeah. [00:51:38] Speaker B: On I think it was the Judy Garland show. It was short lived, but we love it. And she just sounds so beautiful and precise and I'm so sorry. Barbra Streisand will never not remind me of Rachel Berry. [00:51:52] Speaker A: Oh my gosh. [00:51:53] Speaker B: Yeah. Like I'm so like Glee did that to me. [00:51:56] Speaker A: But you know, I actually, when I think of Barbra Streisand, I think of Rachel Berry's cover of Papa, can you hear me, Papa, can you hear me? [00:52:04] Speaker B: I think of don't rain on my parade. [00:52:05] Speaker A: Oh, yeah. I mean, well, yeah, actually that would make more sense. But like, genuinely, I remember that was the song for me personally actually, that I was like. I actually fell in love with Lea Michele's voice. [00:52:18] Speaker B: Lea Michele, she is so talented, but she was not nice, apparently. [00:52:23] Speaker A: She was. Yeah. Awful. The what was. The what was. What did Kurt say? Something about like he made a line. He was like, damn, that girl's annoying, but damn, can she sing? I'm like, yeah, yeah, I can't even hate. You did your big one. Lea Michele. But yes, Barbra streisand. [00:52:41] Speaker B: Babs. [00:52:42] Speaker A: Babs. Ms. Babs. Their voices together. It also like, I guess maybe because I'm just not all the time, I'm like these. This feels like a pretty random pairing in terms of just purse. Not even about like them and their artistry, but genuinely like two, as two people. Donna Summer and Barbra Streisand. I wouldn't pin them together in my mind, but they made so much sense together on the song. [00:53:05] Speaker B: Yeah, they did really well together. [00:53:06] Speaker A: Oh my gosh. And the when they held that note for eight years. [00:53:11] Speaker B: Yeah. No, that was amazing. [00:53:13] Speaker A: I aged during that part. Holy crap. Like, no. So good. And you know, as we mentioned throughout this entire album, she nails it every time. Starting with a ballad, going into upbeat. [00:53:26] Speaker B: Yeah. And she's like, we'll have Babs do it too now. Yeah. I think it's so fun with them together. And I love, I, you know, I love you. Put two pop girlies on the track and you have them say this man ain't you. You got me. [00:53:41] Speaker A: Yeah. [00:53:41] Speaker B: So. And. And both of them could sing. [00:53:43] Speaker A: Yeah. [00:53:44] Speaker B: Damn. [00:53:44] Speaker A: Yeah. [00:53:45] Speaker B: So I, I was very here for this one. Enjoyed it very much it. It feels like a different vibe from the other tracks. Maybe it's from the inclusion of Barbra Streisand, but sonically, it does kind of give something different for me. And also, this is a long song and at no point was I like, it's still going like I was. I was always enjoying it because they were giving us moments and they weren't giving it all to us right away. [00:54:17] Speaker A: It's so punchy. This song specifically, I think, like the accents, like, they, they. There was no part their vocals, their instrument, like the instrumentals. Nobody was falling behind. Everybody was like on it. [00:54:32] Speaker B: Yeah. [00:54:33] Speaker A: And I think that is. I would have loved to have seen a live performance of this. Like been there and just watched him perform this live. [00:54:41] Speaker B: Yeah. [00:54:41] Speaker A: My shirt would be off. [00:54:43] Speaker B: Yeah, yeah, mine would be. I would be naked for love to love you, baby. [00:54:49] Speaker A: Oh, my God. I. I would be clothed. I would just want to be different. [00:54:55] Speaker B: I'd be naked and soaking. We. No one would know why [00:55:04] Speaker A: Cam is not invited anywhere. [00:55:06] Speaker B: I'm just kidding. I'm sorry, I'm not serious. I. But no, this was a great song. And it was another number one on the Hot 100. There must have been. There must have been a single version because no way did a 12 minute song go number one on the Hot 100. I just don't think that happens. I think the highest charting song. See, yeah, the radio edits about just under five minutes, but I. Yeah, I think the highest charting, longest song was Taylor Swift for all too well, like the 10 minute version. [00:55:47] Speaker A: God, [00:55:49] Speaker B: that's a long song too. But this one, you have moments, darling. We're not talking about Taylor today Forever, [00:56:10] Speaker A: But considering, like, if we're considering this as a closer for the album, this hits. This is just something I. I think it perfectly embodies, like how lively this album felt. [00:56:24] Speaker B: Yeah, there's like, there's. There's never a dull moment. And I mean that in a good way. [00:56:28] Speaker A: Yeah. [00:56:30] Speaker B: Every song, there's so much going on. It's so groovy and done so well. [00:56:36] Speaker A: Yeah. [00:56:37] Speaker B: So I. I appreciate that. [00:56:39] Speaker A: I love it. [00:56:47] Speaker B: Okay. That was the album on the radio. Greatest Hits Volume 1 and 2. I don't know why it is both Volume 1 and 2, but we're here for it. So the music market at the time of release, well, this is a bit of a different one for this album because it's compilation release. So Donna Summer had been riding high and I feel like this really cemented it. She, like I said, had another number one with this album and this track on the radio did well as well. I feel like it was kind of the record label cashing in on the success. Because you see that too, when artists are about to leave labels, like, they're about to end their contract, they will do a greatest hits. And usually that's one of the most profitable kinds of albums you can do. And at this point, Donna Summer was about to leave the label. [00:57:36] Speaker A: Casablanca, right? [00:57:39] Speaker B: Yes. Good job. You ate that up. She would move on to Geffen after that. I don't know what that is, but I know, like, Sony, Virgin, A M Para Music. [00:57:56] Speaker A: I know Universal. [00:57:58] Speaker B: Universal, too. Yeah. What's the one the. That, like, Coldplay's on? [00:58:04] Speaker A: Coldplay's on a label? [00:58:06] Speaker B: Yeah. [00:58:06] Speaker A: They don't. They don't march the beat on their own drum. They're not independent. [00:58:09] Speaker B: No, it's some British label. [00:58:13] Speaker A: Interesting. [00:58:14] Speaker B: Polydor. I think that's what Lana's on. I'm not sure. Anyway, so I don't know these labels. Like, I don't even know Casablanca. But cute. They. They ate promoting her, even though it seems like they did some shady stuff behind the scenes. So, yeah, I. I mean, the 70s were cute. They were the 70s. This isn't my era, guys, but I think to see a black female do this well was amazing. At this time, when we were doing the Tina Turner episode, we were trying to figure out what black female diva was there charting high before, and it was Donna Summer. And honestly, like, I don't really know who is doing super well before Donna Summer. Like, maybe Aretha. Aretha was the 60s, but she did release music in the 70s. [00:59:07] Speaker A: That's true. Yeah. Yeah. [00:59:08] Speaker B: So, yeah, I just. I think it's interesting, and I think she kind of, in a way, paved the way for people like Whitney and Tina to come later on with their huge chart success. And even Diana Ross, like, you know, Diana was also big in the 70s, but, yeah, I. I don't know if she was as big as Donna Summer. And Donna Summer being number one on the Billboard Hot 100 once as a black woman at that time is groundbreaking. [00:59:40] Speaker A: She also, like, they had, like, she had such a small window of time as well, and she freaking ate that up. [00:59:47] Speaker B: Yeah. [00:59:48] Speaker A: Like, literally 70, 77 to 79 pretty much was like, her. And to have her still, like, be, like, hailed as, like, Queen of disco. Yeah, like, it's not even just like, oh, like, she was a remarkable artist. She's the queen of disco. Like, that is. That is, if we're not talking about just, like, we're talking about just like, making use of the time I have right now. Like, today is today. I don't know what tomorrow's gonna bring. And I'm like, she freaking nailed it. And like, you listen to it in the tracks. You're like, you, she brought everything to the table. [01:00:26] Speaker B: Yeah. It's also interesting too, because I know, like, I think maybe 75, up until 77, it was like multiple albums a year. Like, you don't see that now. Or if you do, it's very rare. Like, the last time I saw that was like super gagged was Sweetener by Ariana Grande. And then. Thank you. Next maybe like six, seven months later. But, yeah, so I think, I think it's so fascinating to see that now. But at this time, it was common and it was just the way they released music. They were shorter albums and they just did more of them. So, yeah, I think, I think that contributed to her success. But I really hope she was somewhat happy with this label. [01:01:09] Speaker A: Yeah. [01:01:10] Speaker B: And had a decent experience because I don't know. Unfortunately, big companies have a habit of treating their stars like shit. Like, even if you look at Judy Garland, she was treated horribly and all she wanted was someone to say please, please, please, and thank you. Can you please do this? Yes, of course. But they went, you're going to do this right now and we own you. And, you know, so, I mean, I don't know all the deets, but it, it wasn't nice. They had her on crazy drugs. Anyway, this isn't a Judy Garland episode, even though I'd love to cover her. Maybe we could do Musical Divas one time. That'd be so fun. [01:01:48] Speaker A: We could, like, spend some time on Julie Andrews. [01:01:50] Speaker B: Oh, my God. I was going to say we need to do the Sound of Music if that's the case. But yeah, I, I, I hope, I hope she did okay on, on this label, even though she was very successful. But the Queen of Disco is a title she earned and is a, is so well deserved and wasn't easy. We had to remember, you know, she, she fought to get where she was. So, yeah, I, I think this album, so not this album, but these series of albums was so groundbreaking for the music world. [01:02:26] Speaker A: Agreed. Shall I move on to. [01:02:30] Speaker B: You're like, heard. Okay. [01:02:32] Speaker A: Real, real. [01:02:33] Speaker B: So the album success, I've seen this at record stores everywhere. It was number one on the Billboard 200 in the U.S. i think that's the only region it went number one. It sold 2 million copies in the U.S. alone. So it's certified double platinum. Which is amazing. It doesn't seem like she did as well worldwide, but that's okay. This is a compilation release. And, you know, if you're big in the us That's a big market conquered. So I feel like you're doing well. You know what I mean? [01:03:08] Speaker A: Yeah. I also don't know if. Because disco was very Western hemisphere, like, particularly American, too, so I feel like it appealed to the right crowd. [01:03:21] Speaker B: Yeah. [01:03:22] Speaker A: And I think that was enough for them, to be honest. [01:03:24] Speaker B: Fair. But, yeah, it. Like I said, it spawned a number one single with Babs, and then the title track on the radio went to number five. So. [01:03:35] Speaker A: Period. [01:03:36] Speaker B: I think. I think there's a lot of success that came from this album. The artwork. What do you think, Nelly? [01:03:43] Speaker A: I love the blue and pink. I freaking love the sky. I love the look of it. [01:03:49] Speaker B: All of her album covers are sickening. Like, they're also sickening. So nice. [01:03:52] Speaker A: She's so beautiful. Like, and thing is, when we talk about divas, that is oftentimes what we'll always talk about is their beauty, because they're so gorgeous. [01:04:03] Speaker B: Yeah. [01:04:03] Speaker A: But just, like, also, just, like, within this artwork of, like, her sitting on a. Is that a suitcase? A jukebox. [01:04:10] Speaker B: I think it's supposed to be a jukebox. It looks like a little robot. Yeah, it looks like a jukebox. [01:04:16] Speaker A: So, yeah, like, her sitting on a. Like, a jukebox. The jukebox also, like, looks a little too small for her to be sitting on. But it's funny, because now I'm being too, like, English teachery with it. I'm like. I think, like, this is her showing her dominating, like, being like, I'm not here to play. Like, I am. I am bigger than what you can even perceive for music right now. So I think that's really, really cool. And, like, even talking about just, like, how she felt so New York, like, you look at her, you're, like, live in New York. Like, that's what you think of. And, like, seeing, like, the buildings in the background, like, the landscape. I love the cityscape. [01:04:55] Speaker B: I love that. [01:04:56] Speaker A: So good. I love the stars. I also love, like, the font of her name, too. And then, like, on the radio, like, it's. I think it's stunning. [01:05:04] Speaker B: Yeah, I think. I think it's gorgeous. I love the pink sky. Like, that being the sunset, and then kind of the purple on top with the stars and then matching the pink with the font. Yeah. And then just having on the radio be in white. Yeah. Helps it stand out. Like, I think it's Such a gorgeous album cover. Even. Even before I, like, listened to Donna Summer, I had seen this at record stores, like I said, and I thought it was gorgeous. I thought this was such a gorgeous album cover. She looks stunning. Her outfit is sickening. Her shoes are, like half off. Yeah. [01:05:38] Speaker A: Like, she's ready to dance. Oh, my gosh. [01:05:40] Speaker B: She's ready to love to love you [01:05:43] Speaker A: she's ready to moan, baby. [01:05:45] Speaker B: But yeah, no, I just think this is absolutely gorgeous. Perfect album cover. Literally a 10 out of 10 for me. [01:05:53] Speaker A: Agreed. [01:05:53] Speaker B: Absolutely beautiful. [01:05:56] Speaker A: That dress is also gorgeous. I love the puffy sleeves. Also going down to the elbow, like, as opposed to just like the top of her shoulder, like going down to her elbow and then it's snaked in for her forearm. I think it's just so pretty. Her hair, her everything. She is stunning. [01:06:15] Speaker B: She is stunning. She's so beautiful. All right, that being said, let's get into the producers of the songs. The main producers on this album were Giorgio Mador, Pete Belote, and Gary Klein. So in terms of writing credits, Donna Summer co wrote everything on the album except for Last Dance, MacArthur Park, Hot Stuff, Sunset People, and no more Tears. So I'd say that's quite a huge thing, especially at that time because you rarely see female writers. I'm pretty sure every other name on this list of writers on the album are men. So, yeah, if. Unless you're a singer, it's really hard to get in the room and to have your ideas be taken. So, yeah, I think. [01:07:12] Speaker A: I think it's legendary. [01:07:14] Speaker B: It is legendary. And it's. It's not an easy stat. So to not only have all these hits, but having written a lot of them, if not most of them is legend. I stand girl. [01:07:29] Speaker A: Sorry. I actually have nothing to say. [01:07:31] Speaker B: Unheard of. [01:07:32] Speaker A: Like unparalleled. [01:07:33] Speaker B: Unparalleled. But no, honestly, I do think in order to have a lot of hits, it really helps if you're a writer. Unless you're Whitney Houston or Celine. But Celine. Celine does not have as many hits as Mariah and Whitney. But if you're a writer and your songs hit, they're constantly. You are gonna be able to constantly create good music if you're a good writer versus if you're just a good singer. You have to rely on other people to make those hits for you and to keep coming back versus just relying on yourself. It's a very big difference. But it usually creates a lot more hits. I mean, depending who you are. Unless you're someone like Taylor Dane and you won't Sing a song written by somebody else. Oh, maybe we'll cover Taylor Dane eventually, but I don't know. She was never my favorite. [01:08:23] Speaker A: Yeah. And moving on to also, just talking about the impact of this album. We've touched upon just her daughters that bloomed from here. But just like as we know, being named the queen of disco and even disco as a genre also is considered short lived. But we saw how it manifested into different subgenres, like house music. It. Like she was the mother of dance, like, in a way. And so this album specifically, like, though it was a compilation album. Like, you saw how central dance and feeling good was to her music. And she didn't want you to just dance. She wanted you to make you feel good. And that was something that I'm like, I love how it feels empowering in that way too. And yeah, I think, like it's no, it's no question how legendary how. How she became so legendary. And again, I can really. I keep talking about Renaissance, but like examples like Renaissance in which like it ended up reimagining. Reimagining what she started essentially. Like it did really start with her. [01:09:35] Speaker B: Yeah. And. And to call back to a song from almost 50 years ago, you know, it's got to be a good song. [01:09:44] Speaker A: Yep. [01:09:45] Speaker B: So for Beyonce to seek that sample out is really cool. Yeah. No, like I said, I think it paved the way for not only female artists, not only female black artists, but writers. I don't know. I really did not know she was as huge as she was. I didn't know. So to see it and now to experience the music has kind of given me a new perspective on her. And yeah, I'm pretty, pretty shocked and excited and, you know, looking forward to continuing to listen to her and diving into her other albums. Yeah. So, yeah, she. She got a fan out of this one period. So yeah, I. This was just a very, very strong album. That being said, did you want to rank the tracks? [01:10:41] Speaker A: Do [01:10:44] Speaker B: I. [01:10:50] Speaker A: So this album is so strong. So like, even my bottom two are like, they're still good. So I. This, this is no shade. [01:10:58] Speaker B: Okay. [01:10:59] Speaker A: To these songs, they just weren't as strong in comparison to the other songs. I will say my least favorite is Sunset People followed by Try Me. I know we can make it. That's not to say again, they're still good songs. Like, I. I don't know if I'd skip it actually. Even if I was like playing it in rotation, I just feel like it'd be one of those filler ones that I play in the Background. But those are my bottom two. [01:11:24] Speaker B: I would have to agree. But I would say my bottom is. Try me. I know we can make it. Yeah. And then my second least favorite would be sunset people. Yeah. [01:11:34] Speaker A: So reverse. [01:11:35] Speaker B: Yeah. Like, I do like sunset people a little more. I think it's slightly more memorable, but maybe just for the vibe the lyrics give me. If you talk about a sunset, you're already. You know you're gonna be bumped up a number. But, yeah, I have very similar views on this one as you Real. [01:11:53] Speaker A: As I just found. [01:11:54] Speaker B: Try me. I know we can make it a little bit forgettable. [01:11:57] Speaker A: Yeah. In my opinion, that's real. All right, we're gonna get into top three. In third place for me. No more tears. [01:12:07] Speaker B: Yeah. [01:12:08] Speaker A: Donna and Barbara, come on. Come to the front. Come sing for me. So good. Honestly, this one was, like. When I first heard it, it was undeniable. Like, it was like, I knew this would be one of my tops because. [01:12:21] Speaker B: Am I you giggling? [01:12:27] Speaker A: Just because I'm like, this is just so good. And as you mentioned before, I'm like, the 11 minutes didn't feel like it was dragging. It felt. I was like, yeah, let's make a long song. Like, it was, like. It felt justified, and it. It. It's everything to me. [01:12:40] Speaker B: Yeah, I thought that one was fun, too. [01:12:42] Speaker A: That's great. [01:12:44] Speaker B: What's your number two? [01:12:46] Speaker A: Second one. Last dance. Last dance tonight. Like, oh, my God. So good. It's. It feels like I'm spinning on a dance floor. Like, my arms, like, stretched out and my head just tilted back. There's a scene specifically that I'm thinking of Carrie Bradshaw and Sex and the City. I've actually never seen it, but I do feel like I'm spinning on a dance floor whenever I hear the song. And my number one, it's gotta be Heaven Knows. [01:13:13] Speaker B: Wow. [01:13:14] Speaker A: I really love Heaven Knows. And honestly, like, it was a fight, actually to, like, not have bad girls in the top three. Like, it felt weird. Not to put it. But these ones are the ones where I was like, these were the. These were the. The ones that I didn't expect. That's why I love it even more. [01:13:32] Speaker B: Okay. [01:13:33] Speaker A: Oh, but, yeah, Heaven Knows just gets me. I just feel like. Baby, please. Like, oh, it feels like. Like her voice feels so. Like it's hitting the lower range of her. It's just so good. It's so sultry and so dark and. [01:13:49] Speaker B: Yeah, that's so funny. I was, like, considering Heaven knows, for the bottom. [01:13:54] Speaker A: You freaking suck. You know that, right? [01:13:56] Speaker B: I'm always scared to say stuff like that. [01:13:58] Speaker A: Yeah. [01:13:59] Speaker B: And you. Nelly's scary. [01:14:05] Speaker A: You suck. Oh, whatever. Continue. [01:14:10] Speaker B: Okay, so my top three. This was a hard. This was a hard one to figure out. I'd say my number three would be last Dance, just because I love those vocal moments. It's probably vocally the best moment on the album, if not the duet with Babs. [01:14:31] Speaker A: Right. [01:14:31] Speaker B: But I don't know. I just. Moments like that are so exciting that when. When the whole album is so consistent in quality, that's gonna jump out. [01:14:44] Speaker A: Where's the bar? Yeah, that's true. [01:14:46] Speaker B: Give you a little highlight moment. So, yeah, I thought that song was amazing and changed my opinion on Donna Summer as a vocalist. My number two would be love to love you, baby. [01:14:58] Speaker A: Oh, real. [01:14:59] Speaker B: That one is so fun. [01:15:02] Speaker A: That one is really good. That was really good. [01:15:03] Speaker B: So unique, and it's a good song, but I just think, like, there's so much personality into it, and, like, I'm not taking it seriously. I'm not like, oh, yeah. Like, I don't know. [01:15:16] Speaker A: Like, definitely not a bottle of lotion. Next to you. [01:15:25] Speaker B: The hard days work. Let me put on love to love you, baby. [01:15:28] Speaker A: You're like, oh, my God, I'm so freaking built up. [01:15:32] Speaker B: Okay. Sorry. But no, I thought it was so fun. It kind of reminded me of, like, Janet, because she does that sometimes in her songs too. Like, funny how time flies when we're having fun. Or some days tonight she'll, you know, make some fun sounds. So. And it's not that high because of the fun sounds, but it just adds some personality to it. It's so, so, so memorable. [01:15:59] Speaker A: Yeah. [01:16:00] Speaker B: So, yeah, I. Definitely. One of my favorites. [01:16:03] Speaker A: And so good. [01:16:04] Speaker B: Very. Such a fun track. [01:16:06] Speaker A: That's justifiable. [01:16:07] Speaker B: This is kind of. That's the only kind of ballad on this album. [01:16:11] Speaker A: Yeah. [01:16:11] Speaker B: But you don't even think about it as a ballad because it's, you know, you're thinking about other stuff. My number one is Bad Girls Real. I think that's such a fun song. It was my number one when we covered the album, and it's my number one now. I love the transition in this particular version from Hot Stuff to Bad Girls as well. I thought that was so fun. But, yeah, such a strong track. It's number one. And, yeah, just such a good song. Such a good song. A super hit. [01:16:40] Speaker A: You know, I. I knew I wasn't going to disagree with your top three, so for you to put a dagger into my back, sales feels a little pointed and targeted, but it's okay. Bad Girls is Like for me, okay, it's going to sound silly, but I'm like, if Bad Girls was number one, then it wasn't going to be like it wasn't going to be in the top three. It was either like it wasn't going to be like, oh, like second. No, it was either number one or nothing. [01:17:06] Speaker B: Yeah. Cuz it's like, I mean, what. It's kind of like what's your definition of. Is it the best songs of the songs that surprised you or like the songs that are new to you or like, you know, some of the underrated, you know, like there's different kinds of tops you can do. Wink. Shut up. [01:17:23] Speaker A: I think genuinely like when I talk like thinking. When I was thinking about my top three, I had to think in the more of the direction of like what does favorite mean to me today? Like favorite sometimes are just like genuinely like like universally, what are the best songs in the album? But for me, I'm like, today these are my three favorites. And you know what? Tomorrow it could be like actually, just kidding, it's Bad Girls again. And it could be. But I think like when listening to it, I'm just like, surprisingly, these are the three that like stand out to me the most. Where I'm like, yeah, this is really good. But yeah, Bad Girls, you know. Hey, Too good. [01:18:00] Speaker B: Yeah. I also wanted to do an honorable mention to the duet with Babs just because I thought that was such a good song. [01:18:06] Speaker A: Really good. [01:18:07] Speaker B: And on the Radio was cute too. A nice little title. [01:18:10] Speaker A: Oh, on the Radio. Yeah. That was so nice. [01:18:12] Speaker B: Yeah. [01:18:13] Speaker A: Yeah. My honorable mention is. I remember yesterday as well. Just because I'm like. That was really fun. That one was really cute and fun. Like the little swing moment. [01:18:21] Speaker B: This was a really, really good album. So trying to pick a top three was so difficult. So. Yeah, I, I totally agree with you except for your number one. But I think it's. I still think it's. Here's the thing, here's the thing. I still think it's a good song. It's still a really good song. But is it like the best? In my opinion? No, but it's still a very good song in a very high quality album. [01:18:49] Speaker A: It's okay, whatever. I'm still correct and that's fine. [01:18:54] Speaker B: We're also a little special thing we're doing for this episode. We're releasing our own cover of the Babs and Donna duet on Spotify. An 11 minute version. So go check us out. [01:19:08] Speaker A: Actually, we're gonna add a minute of boning. [01:19:12] Speaker B: Yeah, we're gonna add a little bit of love to love you, baby at the end in unison. And we're gonna harmonize. [01:19:18] Speaker A: Yeah. [01:19:19] Speaker B: Just so you guys know. [01:19:20] Speaker A: And if you got like, comment subscribe on that song specifically share it with your friends. Thank you. [01:19:26] Speaker B: But yeah, that being said, it's time to grade the album. Do you want to just say it at the same time and see if it's the same? And if it's not, that'll be awkward. [01:19:34] Speaker A: That'll be very, very awkward. [01:19:35] Speaker B: Okay. Three, two, one. [01:19:37] Speaker A: Diva Decoded Girl, come up. Come up to the stage. [01:19:43] Speaker B: This is one of the ones where it's so deserved, [01:19:48] Speaker A: even beyond just being the queen of disco girl, you literally change the game. You literally change what it means to d Like, truly, truly, truly dance and not just like someone two step, like you're gonna dance and you take off some clothes while doing it as well. And I. You literally revolutionized the pop stratosphere. [01:20:10] Speaker B: Yeah, I would say too. Diva Decoded just because she paved the way for, you know, people like Whitney, Mariah to do what they do. And, you know, I always think of when t Swizzle, I think she was making a Grammy speech. Should I not say that? [01:20:32] Speaker A: Go, go ahead. I want to hear. [01:20:33] Speaker B: And she was like, talking about the next generation of singers and Billie Eilish was watching her. And then she was the next generation and then won a bunch of Grammys herself. I think about that in this sense with people like Whitney, maybe she inspired Whitney in some ways or Mariah, you know, So I just think that's so poignant and special and you could see the influence. And for me, that she's kind of. She kind of seems like, vocally, I think Diana Ross is a little bit similar to Janet Jackson. I think the same for Donna Summer and Whitney Houston. So, yeah, I don't know. I think this is just. Sorry, I'm losing my fucking train of [01:21:16] Speaker A: thought, but this is good. No, she's. She's. [01:21:21] Speaker B: She is so strong in this. In this album and throughout. Throughout this time. And so to hear her in her heyday with her collection of hits was really, really fun. So it definitely deserves Diva Decoded. [01:21:37] Speaker A: This might be one of the funnest episodes we did. [01:21:41] Speaker B: Yeah, I was like. Because I didn't know what to expect because when we did Bad Girls, it all kind of blended into one versus each song was so distinct because it all had its. Each hooks, its little moments. So, yeah, coming back to Donna Summer was so interesting. And yeah, I had a lot of fun even preparing, listening for this Episode like, you best believe I was, like, up in the gym earlier, listening to Donna Summer, enjoying. And, you know, I think I listened to this, like, three times yesterday. [01:22:15] Speaker A: I love that. You know what's so funny? I'm like, I. I'm on the opposite end of the spectrum where I'm like, I listened to it twice. That's all I needed. [01:22:21] Speaker B: Well, you know them, right? [01:22:23] Speaker A: I was. That's. Well, the thing is that there were a lot of songs on here that, like, I'd heard it before, sure. But I'm like, in general, because it was so long, there were still a lot of songs I learned that I'd, like, learned through it. I didn't even know about her duet with Babs. And so, like, listening to first time, I was like, immediately, yeah, like, I'm sold. I'm there. Like, there was less, like, studying and more. So just, like, I'm with you. I'm actually right there with you, girl. Diva. Come on. Come to the front. But, like, on your end, too. Like, there was a lot of replay value with this album. [01:22:52] Speaker B: It was so fun and such great hooks, so catchy, such great music. So, yeah, we. We love doing this one. [01:23:00] Speaker A: Yeah. Well, that covers on the radio, Greatest hits, volumes one and two by Donna Summer. Thank you so much for listening to this. I hope you have. I hope you had as much fun with this as we did. And for sure, you need to listen to it. Like, this is one of those ones where you gotta go right after this and go listen to love, to love you, baby. Absolutely. Turn down the lights. Dim down the lights. [01:23:25] Speaker B: Oh, my God. [01:23:25] Speaker A: Get your bottle of lotion and have some fun. Just. Just because this album. I hope you enjoy this album as much as we did, but thank you so much for listening. [01:23:35] Speaker B: Yes. You've been listening to Diva, decoded with Cam and Nelly. [01:23:42] Speaker A: Have a great week, Diva. [01:23:44] Speaker B: All right. Bye. Bye.