1994 was a pretty dire year for disco afficionados like me. There was some element of house music starting to pop up on the massive display racks at the new Virgin Megastore on Sunset Boulevard, but the Stock-Aitken-Waterman "neo-disco" (as I called it) sound had faded away as the Aitken part of that trio went his own way like a cover of an old Fleetwood Mac song.

After finally having located a re-release of Salsoul Orchestra's "Christmas Jollies" on an end cap display, I was encouraged and wandered further into the holiday music section, hoping upon hopes to find some other of the artists I knew with a Christmas album for the buying. Wandering the aisles, I stopped dead in my tracks at the two lonely CDs with my Diva, Ms. Donna Summer, on the cover peering out over "A Christmas Album" by the mother of all anti-Divas, Barbra Streisand. It's no coincidence that 'No More Tears (Enough Is Enough)' has been called The Song That Killed Disco. With Barbra riding everyone's coattails throughout the century in search of royalties (Neil Diamond, Donna Summer, Barry Gibb, don't make me go on) because she couldn't get a hit of her own, it was only a matter of time until she would breathe the kiss of death onto our favorite musical genre. Heck, she almost let Donna kill herself just to get 'Enough...' recorded, literally!

Again, I digress. Anyway, thrilled beyond belief that not only had our Diva released a new album (we hadn't seen her since Mistaken Identity three years prior), I snatched one of the two copies and headed for the checkout. I rushed home to spend the usual ten minutes trying to undo the shrinkwrap anticipating the string of Christmas traditionals on the track listing as belted out in high disco style by my beloved Donna Summer. I held the jewel case excitedly and admired the new Harry Langdon photo of a subdued and faith-inspired Donna, hands in prayer position, looking heavenward. I thought "she looks pretty good for 45; I hope she still sounds great, too." Langdon was Donna's photographer of choice since "Bad Girls," and had been a key contributor to her ever-increasing success and popularity through is photographic work. 

Track 1, "White Christmas," was a traditional arrangement; maybe it's just one of those songs to to get you in the mood before the real rockin' Donna starts. Fast forward...all tracks. No disco, no house, no pop...I was disappointed. I shelved the album for a year. "Endless Summer" and its two new tracks made me forget about it, and I was convinced that I had not been forsaken.

The next year, feeling particularly seasonal, I slipped "Christmas Spirit" into the CD player of my Miata. Maybe it was the stress of having just received a speeding ticket on my way to pick up my date for a Christmas party, or maybe it was the sound system with its headrest speakers, but something happened. I began to really, really listen to the tracks. And I was singing along. My date observed, wow she's really good. And I agreed. Here was an artist doing what she wanted to do, not what the record label thought she should do, and singing about what's in her heart. And it was magnificent!

White Christmas and The Christmas Song are fresh, clear, and beautifully supported by Michael Omartian's production, Ronn Huff's arrangements, and the Nashville String Machine. Michael has taken his lumps in the past, but I find he's a wonderful partner for Donna, Dionne Warwick, and just about everyone else he's worked with. I totally disagree with the review in either Billboard or Rolling Stone (can't remember which) of Bette Midler's 1979 disco entry "Thighs And Whispers." It claims that Omartian should have known better than to put Bette up against disco. However, I find that album to be one in which Bette successfully wrings a scale of emotions out of her performance while keeping with the disco theme of the album--from humor to bawdiness to despair--it's all there with a 120BPM bass track (one of my favorite albums).

I knew Mel Torme in person for a while in the '80s, who co-wrote The Christmas Song. I am sure that he was proud of this version of his song and the beauty and innocence with which it's delivered. Donna helps keep his song immortal.

And Omartian repeats his effort on Christmas Spirit. After the first two warming tracks, we get a faith inspired rendition of 'O Come All Ye Faithful' that underscores Donna's belief and motivation. It was certain, she is singing what's in her soul. An exhilarating romp through 'Christmas Is Here' follows, penned by Summer and Omartian themselves. I would imagine it's hard to come up with a melody that sounds Christmas-y after there have been so many traditional songs that we've been exposed to for years, but having already been successful 17 years earlier on the title theme from "The Deep" and its sub-nautical, mermaid-siren sound that was released to an audience saturated with the theme from "Jaws," it's no surprise that Donna has so much success on this cut.

'Christmas Medley' is a full-speed-ahead and no-holds-barred barnstormer. It starts off sweetly with 'What Child Is This' and tears into 'Do You Hear What I Hear' (one of my favorites from singing in church choir as a child) and then what I call "flat out Donna" on 'Joy To The World." By the end, there is no doubt who is the Diva, who can outsing anyone, and who knows what she is singing about. You can close your eyes and imagine the mic about 6 feet away because of the power coming through. No Barbra, Celine, or Shania can match that tone, pitch, and force. If you're not happy about Christmas, you will be by the end of this medley.

There are no weak tracks on the album, but if ranked, the next one is probably less spectacular a performance than the others. However it is one of the nicest versions of "I'll Be Home For Christmas" that you'll ever hear and takes us down a few notches to prepare us for the last four tracks, which are perfect for Christmas Eve listening, with the silence, peace, and significance of the occassion are neatly wrapped up to occupy a space next to the traditional Silent Night that we all know so well.

'Christmas Spirit' the track is sincere, and also penned by Donna. It's sung from the perspective of Donna helping to spread the word about the real meaning of Christmas and why we are celebrating. Her words put the meaning of Jesus's coming and life in very simple, very real perspective, and drawing us in by relating our secular experiences around Christmas and how they really relate to the true joy of the day. The same longing sound that came through in 'On My Honor' and 'All Through The Night' in 1979 comes through in 'Christmas Spirit' and is used for an entirely different meaning. We also hear some (now rare) falsetto and a few "flat out" phrases that keep the song invigorating and tender at the same time.

A cover of Amy Grant's 'Breath of Heaven' comes up next. This is where we get to understand even more about Donna's spirituality. Having never heard Amy's version before I heard Donna's, I have to admit that Donna outdid her here. Taking the character of Mary, Donna brings at first listen perhaps too much courage to the part, but also a heartfelt interpretation, perhaps one we've never considered. As Mary was the chosen one of God to carry His son, there must have been extraordinay about her, and Donna gives the role an extra special performance for such an ordinary girl.

The gospel in Donna's past has not been forgotten. On 'O Holy night,' she is holding her absolutely certain own above an adult choir and orchestral arrangement. We are treated to a performance akin to Donna's TV and stage performances of 'Amazing Grace' and anyone who doesn't want to stand up and testify by the end of this song probably should forget about Christmas anyway. I imagine this is what she sounded like as a small girl in that church back in Boston when she realized and embodied her gift of song and everyone in the church was crying because they were so moved.

For the last track, 'Lamb Of God,' Donna once again put her songwriting talents to work and co-wrote with Omartian, relating the travels of the Three Wise Men to the manger that comfortingly intertwines Biblical conditions with our modern existence. There is salvation to be had and the answer is passionately and simply brought to use through Donna's dual gifts of writing and singing. We get yet another sample of "flat out Donna" and amazing vocal acrobatics. While the instrumental arrangement on this track is somewhat dated now, it's still a powerful message and beautiful song. I credit this song with having deepened my own spirituality. I don't know who can listen to this song without getting teared up, and I especially so given the inclusion of all living things (always a soft spot for me) into the miracle as Donna speaks to us at the end of the song in reprise fashion, "And so, the wise men, the shepherds, the ox and the lamb, the angels above, all rejoiced at God's command..."

From my own Methodist upbringing to my subsequent years of cynical agnosticism and eventual atheism, to my helpless and powerless realization of higher power, Donna touched my life for the better yet one more time. Looking for a disco Christmas, I instead was inspired to greater faith and shortly thereafter found not only that but a greater understanding and acceptance of God's love, and my life was changed forever for the better.

I still maintain that I would never have gotten that from Barbra. And when I feel like I want some Xmas Disco, I put on that "Christmas Jollies" album (I avoid my Claudia Barry "Disco Christmas" CD at all costs unless I've really been into the eggnog), and finish it off with a hefty listen to "Rosie Christmas." Even with a synthesized rhythm section at Studio 54 pace on that gem, Donna still brings it home.

Peace and joy of the Season be with all of you!

David Thornton