FOUR SEASONS OF LOVE
Like Donna Summer's previous American releases, Love to Love You Baby and
A Love Trilogy, Four Seasons of Love is an extended exercise in ecstasy, but where the earlier albums had sustained their lush, throbbing title tracks for one entire side, pushing the long LP cut to its logical extreme, here the whole album is one continuous song cycle.
Four Seasons
traces the blossoming and eventual withering of a love affair from the exhilarating
Spring Affair through the steamy, passionate Summer Fever and ominous
Autumn Changes to a crisp, lovely end in Winter Melody, which blends back into a reprise of
Spring and the promise of a new affair. The music is one unbroken landscape, interrupted only by the changing of sides.
Giorgio Moroder and Pete Bellotte, who produce Summer's records in Germany with the "Munich Machine," Europe's answer to MFSB, again mesh the orgasmic ebb and flow of lovemaking with the euphoric energy of disco dancing, creating the perfect pulsing back drop to Summer's breathy, seething vocals. The songs build and break, surging on clean sweeps of violins, but because they ease off before reaching a climax, Summer and the orchestra are able to keep it up indefinitely without dissipating the record's vibrant energy. For some, the format must seem confining, but on the dance floor or in the bedroom—Summer's main spheres of influence—this kind of creative foreplay is so rich in nuance and texture that other considerations are swept aside.
- Vince Aletti Rolling Stone issue 231 |
"On Summer Fever, Donna males the most of the decidedly sparse lyrics, only occasionally letting her vocals take center stage. The entire song is sung in her highest falsetto, and if it weren't for the obvious fact that the production was extended for discos, it would be on equal ground with
Spring Affair as an inventive catchy track."
- Josiah Howard, Donna Summer: Her Life & Music (Tiny Ripple, 2003) |
"In listening to Autumn Changes a lot recently I've noticed that it almost sounds like an early-mid 80s song during the part where Donna sings 'yes we can, oh sure we can....' It makes me think of
Do You Really Want to Hurt Me (Culture Club) and has a lighter synth touch to it and an absence of the violin/strings that are present elsewhere. I had never paid attention to this part before and was surprised at this more 'modern' sound."
- SteveWrksHrd, posted on the
Endless Summer forum April 15, 2003 |