Summer Soderrstorm

Lady of the Night is the debut studio album by American singer Donna Summer. The album, which was produced by Pete Bellotte, was released in 1974 only in The Netherlands, and spawned the minor hit singles "The Hostage" and "Lady of the Night" in that country. The songs, written by the Moroder/Bellotte team, are mostly of the pop/rock/folk variety. All songs written and composed by Giorgio Moroder and Pete Bellotte; except "Domino", "Let's Work Together Now" and "Sing Along (Sad Song)" by Bellotte.

A Love Trilogy is the third studio album by American singer and songwriter Donna Summer. It was released on March 5, 1976, just eight months after her international breakthrough with the single and album of the same name - "Love To Love You Baby". The bold, sexual nature of that particular song had earned Summer the title "The first lady of love." A Love Trilogy uses the first side for one long disco track in three distinct movements ('Try Me', 'I Know', 'We Can Make It', and coalescing into the "love trilogy" of the title - "Try Me, I Know We Can Make It". Side Two contained three additional erotic disco songs, including a cover of Barry Manilow's "Could It Be Magic". The album's artwork showed Summer floating light-heartedly through the clouds, again adding to the image of her as a fantasy figure.

In the late '80s, the Mike Stock/Matt Aitken/Pete Waterman team was as important to European dance-pop as Giorgio Moroder and Pete Bellotte had been to Euro-disco in the late '70s. Many pop critics hated Stock/Aitken/Waterman's slick, high-gloss approach with a passion, but what critics like and what the public buys are often two different things – and the British team had the Midas touch when it came to Dead or Alive, Samantha Fox, Rick Astley, and other '80s favorites. So, for Donna Summer, working with them was a logical decision when, in 1989, she made a temporary return to a Euro-dance-pop setting.

In the late '80s, the Mike Stock/Matt Aitken/Pete Waterman team was as important to European dance-pop as Giorgio Moroder and Pete Bellotte had been to Euro-disco in the late '70s. Many pop critics hated Stock/Aitken/Waterman's slick, high-gloss approach with a passion, but what critics like and what the public buys are often two different things – and the British team had the Midas touch when it came to Dead or Alive, Samantha Fox, Rick Astley, and other '80s favorites. So, for Donna Summer, working with them was a logical decision when, in 1989, she made a temporary return to a Euro-dance-pop setting.