Demon Music Group Vinilo y CD

Review: This 1984 album demonstrated Summer's continued ability to experiment with various musical styles, The album features a blend of dance, pop, rock and even calypso influencew. The production, led by Michael Omartian, reflects a glossy, polished sound with heavy use of synthesisers and drum machines, which at times give the album a distinctly 80s vibe. The opening track, 'Maybe It's Over', shows Donna at her best vocally, with a passionate performance that highlights her emotional depth. 'Supernatural Love' and 'Eyes' blend rock and funk elements with her signature disco flair with the results being dynamic. 'I'm Free' is o standout track on the album, offering a more upbeat, danceable sound that recalls the energy of 'She Works Hard for the Money'. The track's infectious groove, combined with Donna's confident delivery, gives it staying power like a classic of hers. 'There Goes My Baby' is a cover of a 1974 The Spinners hit, which is delivered with great vocal precision. The album also includes 'Love Is Just a Breath Away', a track that leans heavily into the soft rock territory, showcasing Donna's ability to adapt to different genres. Often overlooked, this albums music is finally getting the recognition it deserves. This edition is pressed on beautiful pink and white vinyl to celebrate the 40th anniversary.

Review: This vibrant 4-LP collection is a love letter to the music that defined queer dancefloors from 1980 to 1989. It offers an eclectic mix of diva, high energy, Europop, house, alternative and pop classics that celebrate the diversity and innovation of an era when clubs were crucibles of creativity. The tracklist is a masterclass in curation, balancing iconic anthems with deeper cuts. Highlights include Eartha Kitt's sultry 'Where Is My Man', Sylvester's electrifying 'I Need You' and Jean Carne's soulful 'Was That All It Was'. Divine's campy 'Native Love' rubs shoulders with Ryan Paris' shimmering 'Dolce Vita' and Laura Branigan's enduring 'Self Control'. On the experimental edge, New Order's 'Sub-Culture' and Visage's 'The Anvil' bring post-punk energy, while Grace Jones' 'Love On Top Of Love' epitomises avant-garde sophistication. Production giants like Trevor Horn, Larry Levan and Stock, Aitken & Waterman leave their unmistakable mark, ensuring the music pulsates with the era's pioneering spirit. The collection also reflects the bittersweet reality of the time, a period of immense joy and boundless creativity shadowed by the AIDS crisis. This set is more than nostalgiaifull of artistry and the enduring influence of queer club culture during one of its most transformative decades.