Bad Girls [ORIGINAL RECORDING REMASTERED]
LOOKIN’ FOR SOME HOT STUFF BABY? DONNA SUMMER’S DISCO CLASSIC BAD GIRLS EXPANDED, REMASTERED AND REISSUED IN DELUXE EDITION
The greatest album of disco, from its greatest diva, has been expanded with 12-inch singles and rarities as well as digitally remastered for a special reissue. Originally one of the great double LPs of all time, even more has now been added for the two-CD Deluxe Edition of Donna Summer’s Bad Girls (Mercury/UME), released July 22, 2003.
Disc One features the entire remastered 1979 album, which reached double platinum and #1 pop/R&B, including the classic hits "Hot Stuff" (#1 pop/dance, platinum and Grammy winner for Best Rock Female Vocal Performance), "Bad Girls" (#1 pop/dance/R&B, platinum) and "Dim All The Lights" (#2 pop, gold). The added bonus track is the demo of "Bad Girls."
Disc Two boasts nine extended versions of not only Bad Girls tracks but of Summer’s other hits during the period. Released prior to Bad Girls were the 12-inch versions of the 1977 techno breakthrough "I Feel Love" (#6 pop/#1 dance, gold); the Grammy- and Oscar-winning "Last Dance," a Top 5 pop/R&B gold hit written for Summer’s role in the 1978 film Thank God It’s Friday, and "MacArthur Park Suite," the medley which included her first #1 pop single, her gold 1978 cover of Jimmy Webb’s epic "MacArthur Park" which drove Live And More to her first #1 album charting, and the gold Top 10 pop/R&B "Heaven Knows." Spun off from Bad Girls were the 12-inchers "Hot Stuff," "Bad Girls," "Dim All The Lights" and "Walk Away" (Top 40 pop/R&B). With "Hot Stuff," "Bad Girls" and "MacArthur Park," Summer became the first woman to chart three solo #1s during one year.
The post-Bad Girls tracks are "No More Tears (Enough Is Enough)," a duet with Barbra Streisand which went gold and #1 pop/dance, and, opening the ’80s, the long version of the gold Top 10 pop/dance/R&B "On The Radio," cut for the Foxes soundtrack, which titled her greatest hits package, her third consecutive #1 double album, marking her as the only artist in history with that distinction.
But Bad Girls was a landmark in more than mere popularity and commercial success. The album was more soulfully sung, with more R&B horns and fewer strings, than previous disco discs. Its definitive production style (from the celebrated Giorgio Moroder and Pete Bellotte), vision of a truly global pop music, and expression of a woman’s outspoken, emotional and observant sides (the busiest co-writer is Summer, who wrote three songs solo and co-wrote five others) signaled a new era in music.
Though disco’s days would end, the inevitable and eventual resurgence of dance music as a cornerstone of global pop would return Summer to dance floor triumphs over and over. Every young diva who has followed, whether from R&B, pop or country, has been influenced by the Bad Girls of Summer.