This Time, Producing Donna Summer, You Knew Stock, Aitken & Waterman Were For Real

Did Stock, Aitken & Waterman ever do anything useful, you ask? To which I say: Did you ever do anything useful? Go ahead, snicker at their entire catalog: "Never Gonna Give You Up," "I Should Be So Lucky," "Venus," "You Spin Me Round (Like a Record)" ... I needn't go on. Call them a slimy pimple on the pubescent face of '80s dance-pop, scoff at their ability to take their one solitary "120 beats per minute" production trick and shamelessly run it into the ground, throw virtually their entire discography into the proverbial garbage heap. But at the very least, with the last ounce of mercy in your cynical little heart, please, I beg you, if you give them nothing else in your entire life, you've got to give them "This Time I Know It's For Real."

It's funny to think that "This Time I Know It's For Real" only came out six years after "She Works Hard for the Money," and yet I suppose it qualified as a "comeback" single. Six years is like a fart in the pop music wind these days. I wrote in an earlier post that, as opposed to the vast majority of her peers, Donna Summer initially seemed to weather the post-disco comedown that was the '80s with popularity and credibility intact, but if so, well, to paraphrase Rick James, entropy is a hell of a drug. By 1987 she was playing footsie with the Top 40, peaking at #48 with singles like "Dinner with Gershwin," surely the best '80s R&B single to name-check Rembrandt, Mahalia Jackson, and Marie Curie in the same batch of lyrics (the song did better in the UK, hitting #13).



Honestly, I'm kind of digging this one! Brenda Russell, the song's author, almost made it into my Summer of '88 series with her sultry slow jam "Piano in the Dark," but, well, I had to draw the line somewhere. The point is, by 1989, Donna wasn't quite lighting up the dance floor like she used to - not like all those hip kids from Britain with their Linn drums and their high-waisted pants and their squeaky-clean videos were. No, "Dinner with Gershwin" wasn't quite the fitting last hurrah she'd been envisioning. So she shrugged her shoulders, looked around to see who was hot, and said, "Fuck it, I'll team up with those guys."

Funny story: though I had no idea at the time that "Got My Mind Set on You" was George Harrison's comeback hit, or that "Hungry Eyes" was Eric Carmen's comeback hit, I actually knew that "This Time I Know It's For Real" was Donna Summer's comeback hit (it peaked at #7 in the US and #3 in the UK). When I was a toddler in the early '80s, my family used to have a cassette copy of On The Radio in frequent rotation on the car stereo (I recall my father always trying to fast-forward through "Love to Love You Baby" in a panic). And yes, I knew that the Donna Summer on that cassette ... was the same Donna Summer that was having a comeback hit! (Amusingly, although I was extremely familiar with 'She Works Hard For the Money," I did not learn that that had also been sung by Donna Summer until many years later). At any rate, I remember being quite glad for the woman, even though I was only nine years old, and even though I didn't know her personally. It was a rare moment of empathy from my younger self.

I think there are a couple of reasons why "This Time I Know It's For Real" rises above the usual SAW fare. Reason #1 is that Donna Summer actually co-wrote it, which might explain the presence of some atypical chords and harmonic tricks. Oh, it still reeks of SAW all right, but the melody doesn't sound quite as recycled as the others do. Perhaps the greatest moment in Stock, Aitken & Waterman's entire recorded output occurs at the 1:11 and 1:56 marks, when Donna sings the chorus, except when she belts out "for real," the vocal melody rises while the keyboard melody dips, and something otherworldly occurs and the song just enters an alternate dimension of deliciousness. That is the moment. That is the peak of SAW's career, my friends, that exact harmonic bit. We're talking some serious "If I Fell" harmonic shit right there.

The other element that elevates "This Time I Know It's For Real" over SAW's endless stream of Rick and Kylie songs is that, well, Donna Summer is the one singing it. As rock critic Paul Gambaccini comments, with grudging respect, in the British documentary The Hit Factory: The Stock Aitken and Waterman Story (highly recommended if a) you can't get enough of Stock, Aitken & Waterman, b) you thought I was pulling all these songs out of my rear, c) you wanted to expand your knowledge of artists like Mel & Kim, Princess, and Sinitta, and d) you've got 47 minutes to kill): "For me their greatest record is the Donna Summer [one], 'This Time I Know It's For Real.' First of all, it is a great track. And it is a great pop song. But she is also a great vocalist." Indeed, Summer carries eons of dance music history inside her powerful pipes. And it seems to me she is fully aware that it's a comeback song she's singing. Call it the "Night Shift" effect. I mean sure, I can get down with Astley and Minogue as much as the next sardonic '80s music blogger, but they couldn't bring the same intangible aura of hard-won experience that Summer brings. For example, I have a hard time picturing 19-year-old Kylie crooning lines like "I've been around though long enough to know." Let me put it like so: with all due respect to "Dinner with Gershwin," this time Donna Summer knew her comeback was for real. And yet, she doesn't sound like an old fogie trying to hang with the teens. She still exudes energy and spunk. It's not a sympathy hit, you know? This was the final hurrah she deserved. When she holds that very last "for real" at the 3:11 mark, and holds it and holds it, I can practically feel her effervescent essence soaring into the Great Disco Beyond.



The video was apparently filmed in Dr. Frankenstein's laboratory, a constant stream of electrical bolts and laser beams pelting Donna and the dancers throughout, but perhaps it's keeping everybody on their toes. I get the feeling Stock, Aitken & Waterman were already working on a video for one of their crappier artists, and then decided to turn this into a Donna Summer video at the last minute, because there's an extreme "Nickelodeon after school special" vibe to this one, but at least they didn't force Donna to mix in with all the riff-raff. I love the dude wearing a bullfighter-style vest and hat along with some regular jeans. He runs in place like he's been waiting to run in place his entire life and is finally getting his chance. If he's not the same dancer who played the bartender in the "Never Gonna Give You Up" video, I'll bet he's at least that guy's cousin. Frankly, my favorite thing about the video is also my favorite thing about the song, which is Donna Summer. She loves the camera and the camera loves her back. She even looks good in a bowler hat.