Donna Summer
I Remember Yesterday

THE REVIEW

At the time of this record, Donna had already achieved success with Love To Love You Baby and Try Me, I Know We Can Make It. But the best-selling track, the one that would cement her place in history, would be released as a 45 rpm from this short LP, and I am obviously talking about I Feel Love. Unfortunately, this famous track typically has the job of representing, alongside at most a couple of other hits, the entire production of the celebrated Summer-Moroder-Bellotte trio. This is because some singles were extremely famous, and often, it is believed that disco is not a genre meant for LPs but functions best over the short distance of a danceable and catchy single. Now, that I Feel Love sold enormously and became an iconic song as much and more than Love To Love You Baby is beyond question, but don't think this is just the LP printed to be carried by the single. It might be so, but inside there are a couple of truly delightful things.

The "concept" of the previous album, that is, Four Seasons To Love, was the alternation of the four seasons in the solar cycle. Nice idea, not an exceptional album. The concept of this album, on the other hand, is really very interesting and appealing: to compare one's musical repertoire with the "classic" repertoire of the past, with one's present, and with an imaginary future. The future would be I Feel Love, which indeed, according to Moroder himself, would be the "mother" of techno, dance, and electronic music. Love's Unkind and Back in Love Again are two irresistible, simple tracks where the music is captivating and highlights Donna's performance. It's nice, finally, to see how the past refers vaguely to easier soul music but especially to Gershwin in the title track. This track is indeed the one that would have deserved the fame of I Feel Love, and for me, it is the masterpiece of the album, as well as one of the best tracks in the trio's catalog. The key lies in the very simple combination of Moroder-Bellotte, ingenious pioneers of disco and everything electronic and minimal, and the standards of "Hollywood songs." The brass section takes the lead, the rhythm is always relentless, a trademark of the trio, as well as Donna's beautiful voice, which before the last verse launches into some dizzying memorable vocalizations.

I love Donna, I love this album, and above all, I love the title track: an absurd and courageous crossover.