Cats Without Claws: Donna Summer’s Overlooked Gem
The year is 1984. Donna Summer releases the long-awaited follow-up to She Works Hard for the Money, Cats Without Claws. However, both commercially and critically, the reaction is lackluster.
BACKGROUND
Donna Summer had accomplished a lot in five years. After the release of the infamous top-two hit “Love to Love You Baby,” Donna signed with Casablanca and quickly became the undeniable “queen of disco.” From massive award-winning singles “Last Dance” and “I Feel Love” to hugely successful albums Once Upon a Time… and I Remember Yesterday, she was on a roll. Her most successful year without question was 1979. With the release of the critically and commercially successful Bad Girls album and the beloved On the Radio: Greatest Hits compilation, Donna had ventured to a new plateau of accomplishment. However, her relations with Casablanca had soured.
In 1980, Donna sued the label due to “conflicts of interest” (Sheff). David Geffen, a billionaire who has started everything from DreamWorks to Asylum Records, was starting another record label, Geffen Records. Donna was a free agent, and Geffen needed an artist to generate interest in his label. The two inked a deal, making Donna the first major artist signed. It seemed like Donna was destined to begin a new era of massive hits. The first project, The Wanderer, was highly anticipated…
The Wanderer is an interesting record in Donna’s catalog. The album relies less on disco and instead focuses on a more rock-oriented sound. Tracks like the title track, “Cold Love,” and “Running for Cover” sound completely different from anything she had released before. The album also has more experimental tracks like the avant-grade “Grand Illusion.” The final track on the record, “I Believe in Jesus” is also the first time Donna Summer had made a religious declaration, which would become a constant theme throughout the rest of her career.
The album did not measure up to many people’s expectations. It failed to crack the top ten of the Billboard 200 and only one song (“The Wanderer”) made it to the top 20 of the Hot 100. While audiences showed indifference to the project, critics praised the album. Rolling Stone writer Dave Marsh gave the album four out of five stars, calling it “Donna Summer’s most consistent album…music that excludes strength and delight (Marsh).
While a modest hit, the album was a far cry from the success of Bad Girls. Donna needed a new start, an ambitious album that would have surefire hits. I’m a Rainbow was a project that would’ve been a two LP set with huge dance tracks and magnificent ballads (including a cover of “Don’t Cry for Me Argentina”). However, David Geffen rejected the album. As a result the album was left incomplete and shelved. In 1996, the partially completed tracks recorded for the project were compiled into a two-disc, eighteen track CD set which has become a beloved collection by fans.
As a result of I’m a Rainbow’s shelving, David Geffen recommend the legendary Quincy Jones to produce her next project. Hot off of producing Michael Jackson’s iconic Off the Wall album and his own masterpiece The Dude, it’s clear to see why Geffen would’ve recommended him.
At the start of 1982, Donna and Quincy began work on Donna Summer. The album brought Donna into the sonic world listeners expect from a Quincy Jones production. Frequent collaborators Rod Temperton and James Ingram wrote and sang co-leads on tracks, an all star cast featuring Michael Jackson, Stevie Wonder, and Lionel Richie sang on the beloved “State of Independence,” and even Bruce Springsteen penned the often-overlooked “Protection.” It should be noted however, Donna wrote very little of the project. With the exception of “Livin’ in America” and “Love is Just a Breath Away,” the majority of Donna Summer was penned by Quincy, Rod, and James Ingram.
When Donna Summer hit store shelves, the album had the same level of success as The Wanderer. The lead single “Love is in Control (Finger on the Trigger)” peaked at #10 on the Hot 100 and the album itself peaked in the top 20 of the Billboard 200. The other singles did not fair any better. “State of Independence” and “The Woman in Me” both peaked at #41 and #33, respectively. Critics were also not as quick to praise the project. Christopher Connelly of Rolling Stone gave the album two out of five stars, calling it a “…misstep in a career that has always moved forward. (Connelly).”
After the slight failure of Donna Summer, Donna had to go back to court against Casablanca, now under the umbrella of Polygram. After losing $81.6 million in court fighting Polygram, Donna decided to make a compromise. She would release an album to get out of this contract. Donna decided to bring in Michael Omartian to helm the project. The album released was She Works Hard for the Money.
When the title track was released, the song was a bona-fide hit. The smash peaked at #3 and stayed on the Hot 100 for 21 weeks, the music video received a huge push from MTV (the first video by an African-American woman to do so!) [Timeline], and was performed at multiple events, most notably the Grammys.
The album itself was also extremely successful. It went gold in the USA, the UK, Canada, and France, and won a Grammy for “He’s a Rebel.” However this success caused frustration for both Geffen and Polygram. Geffen was irritated that Donna had released a smash for another label. Polygram was upset that after the project’s success that was it, Donna Summer was no longer their artist. She Works Hard for the Money was an unexpected double-edged sword. She had released a massive success, but at a cost.
When the next project was beginning production, Geffen knew they had to have their own piece of the pie. Producer Michael Omartian was brought in again to produce. A lot of the same people who worked on She Works Hard… had a hand in what eventually became Cats Without Claws.
WHAT HAPPENED?
Cats Without Claws is one of Donna Summer’s first real flops. The album failed to yield any top ten hits and it stalled at #40 on the Billboard 200. “There Goes My Baby” was the highest charting hit peaking at #21 on the Hot 100. The other two singles, “Supernatural Love” and “Eyes” both failed to make any significant impact. So, what happened? How did Donna Summer have a successful record one year and completely underperform the next? There are many reasons.
“Unconditional Love” was the second single from She Works Hard for the Money. The song, a duet with Musical Youth (the group that released “Pass the Dutchie”), failed to reach the heights the title track achieved. The song was a top 20 hit in the UK but failed to reach the top 40 in the states. “Love Has a Mind of Its Own” also failed tremendously, peaking at #70. While the album did well, the momentum was quickly lost due to singles that failed to appeal to the general public. Donna Summer needed lightning to strike twice, a song that would turn people’s attention back to her. “There Goes My Baby” was not the single that should’ve been released.
While it was the most successful song off the album, the single was firstly, a cover, and secondly, a ballad. If Geffen wanted Cats Without Claws to do well, “Supernatural Love” would’ve been a far better choice. The song fit right in with the other hits of 1984. The danceable-pop, the synths, it seemed like the perfect choice. Another problem with the track is that it doesn’t give the listener an accurate idea of what the album was loaded with. Cats Without Claws is front-to-back, high energy dance tracks. “It’s Not the Way,” “Oh, Billy Please,” “I’m Free;” with the exception of the beautiful “Forgive Me” the album is nothing but high energy.
The album also had the problem of being an MTV era album, particularly a post-Thriller album. If you wanted a successful record, you had to have memorable videos. This album did not. “There Goes My Baby” has an interesting concept, Donna Summer’s partner is shown going to war. However, the video blends in with every other video of the time.
The same could be said for “Supernatural Love.” Donna Summer plays this mystical woman with magical powers that falls out of a painting(?) and chases after a man(??). The video is absolutely bonkers and makes little sense.
It did not help matters that MTV and other video networks rarely gave both videos any notable airplay.
However, there is one other elephant in the room. In 1984, shortly after the Hard for the Money tour came to an end, a rumor began circulating that Donna Summer made homophobic remarks at one of her concerts. The Village Voice was the first to print that Donna had said quote;
“It was Adam and Eve, not Adam and Steve. I’ve seen the evil homosexuality come out of you people… AIDS is the result of your sins… God loves you. But not the way you are now. (Huffpost)”
The reaction was immediate. Donna Summer’s fan base, which is prominently LGBTQ+, were angered and outraged. It should be stated that this was also in the mist of the AIDS crisis. Gay and bisexual men were dying at an alarming rate while politicians ignored or weaponized the disease. Having a gay icon like Donna be rumored to say such horrendous things, of course, would lead people to stop supporting her and her music.
The tragedy of all this is that there is no proof Donna said anything homophobic. The only sourse of the quote is from The Village Voice. No video or audio recordings have surfaced in the nearly 40 years this rumor has been around. Donna Summer herself denied the allegations years later. After her passing in 2012, a letter she wrote in 1989 to ACT UP was revealed to the public. The letter was written as a result of activists protesting The Gay Rights Grass Root’s Fund’s outdoor party. The party played Donna Summer’s music which caused an uproar (Staley). In the letter Donna writes;
“I cannot force you to believe what I tell you… I did not say God is punishing gays with [AIDS], I did not sit with ill intentions in judgement over your lives… If I have caused you pain, forgive me.”
As a result of lackluster singles, forgettable music videos, and a controversial rumor, Cats Without Claws suffered. The album was released and quickly forgotten. Critics largely ignored the project (reviews from mainstream music publications were almost nonexistent). Ron Wyrn of AllMusic gave the project two out of five stars, saying it “wasn’t as lofty a triumph as Summer had routinely enjoyed. (without)”
IS IT ANY GOOD?
Cats Without Claws has received little-to-no reappraisal in the nearly 40 years since its release. People rarely bring up the album. Even in discussions about Donna’s eighties output, the album will be reduced to a sentence, if mentioned at all.
It’s a shame because the album is a strong offering! While not a perfect album, nor Donna’s best, the album is a fantastic, fun journey. From the synth-heavy landscape of “Supernatural Love” to the catchiness of “Suzanna.” The guitar-ridden “Oh, Billy Please” to the emotional “Forgive Me,” the album is an exciting listen! Favorites of mine would have to be…
“Supernatural Love”
I know, I know, this track has been mentioned multiple times throughout this piece, but I have to praise this song! From the instrumentation, the multiple hooks throughout, the guitar-solo. The track is pure eighties’ bliss and I adore it! There’s also an extended mix of the song that is pretty good as-well.
“Oh, Billy Please”
According to Wikipedia, Donna Summer wanted “Oh, Billy Please” to be the lead single for this album (Cats). While I cannot find any proof for this (it doesn’t help that no citation was located in the article), Donna Summer might have been on to something! The track is a heavy dance-rock-pop combination that is amazing! Donna wails with emotion throughout the number while the song builds with intensity. It’s one of her best deep cuts in my opinion! Highly recommended!
“Eyes”
“Eyes” is an interesting concept for a song. The song revolves around a couple but describes their lives in detailed fashion, as if Donna is describing a show she is watching. The song has one of the best hooks on the album with the chorus. There’s an extended mix by John “Jellybean” Benitez that was released on the 12" single that I highly recommend. Both versions are great in my “eyes” (pun intended.)
“I’m Free”
“I’m Free” is one of my favorite tracks from Donna’s entire catalog. From her marvelous vocal-performance to the Caribbean influence, the track should have been a hit. It is ironic to me that the album affected the most by accusations of homophobia has a track that literally screams gay club anthem!
“Forgive Me”
The grammy winning “Forgive Me” is a beautiful closer to the album. As mentioned earlier, Donna Summer had started to include more overtly religious tracks in her albums since the beginning of the eighties. Of all of them, “Forgive Me” is my personal favorite. The track maintains its message while not being too preachy or on-the-nose (like “I Believe in Jesus”).
CONCLUSION
Cats Without Claws deserves more attention. Releasing at a tremulous period, the album achieved little of the success usual to Donna Summer. It’s a shame, the album is a strong release. Had the album released earlier (or even later) and had better promotion, it probably could have done as well as her prior output. Sadly, this album was her first of many failures. Three years after Cats Without Claws, Donna released All Systems Go. The album did even worse than Cats (it peaked at #122 on the Hot 100), however the single “Dinner with Gershwin” became a minor hit in the UK and the US R&B charts. The album cycle was plagued by the same issues of bad single choices and music videos. In 1989, Another Place and Time was released and gave Donna another top ten hit with “This Time I Know It’s for Real.” The album was denied release from Geffen, which led Donna to sign a deal with Atlantic so the album could release in the states. Because of this, the album peaked at #53. Mistaken Identity was released in 1991 and failed to even appear on the Billboard 200.
Regardless, Cats Without Claws stands as an often overlooked gem in Donna’s discography. The album has been reissued in 2014 as part of a series of expanded editions and has recently had a 180 gram pink vinyl release. If you haven’t already, I would highly recommend checking out this project alongside her other later period releases. Many of these albums have strong tracks that are completely dismissed by critics and the mainstream public.
Works Cited:
“Cats without Claws.” Wikipedia, Wikimedia Foundation, 3 Oct. 2021, https://en.wikipedia.org/wiki/Cats_Without_Claws.
“Cats without Claws — Donna Summer: Songs, Reviews, Credits.” AllMusic, 31 Dec. 1969, https://www.allmusic.com/album/cats-without-claws-mw0000192062.
Connelly, Christopher. “Donna Summer.” Donna Summer: Donna Summer : Music Reviews : Rolling Stone, Rolling Stone, https://web.archive.org/web/20071224151454/http://www.rollingstone.com/artists/donnasummer/albums/album/118780/review/5942022/donna_summer.
HuffPost. (2016, February 2). Controversial donna summer letter unearthed after 23 years. HuffPost. Retrieved October 28, 2021, from https://www.huffpost.com/entry/donna-summer-anti-gay-remarks-apology-letter_n_1591615.
Marsh, Dave. “Donna Summer — ‘The Wanderer’ Review.” Donna Summer: The Wanderer : Music Reviews : Rolling Stone, 1994, https://web.archive.org/web/20071209083633/http://www.rollingstone.com/artists/donnasummer/albums/album/118191/review/5942953/the_wanderer.
Sheff, David. “Post-Kiss, the Village People and Donna Summer, Neil & Joyce Bogart Redo Their Own Lives.” PEOPLE.com, 26 May 1980, https://people.com/archive/post-kiss-the-village-people-and-donna-summer-neil-joyce-bogart-redo-their-own-lives-vol-13-no-21/.
Staley, P. (2021, January 25). Donna Summer’s letter to ACT UP. POZ. Retrieved October 28, 2021, from https://www.poz.com/blog/donna-summers-letter-to-act-up.
“Timeline.” The Donna Summer Musical, https://thedonnasummermusical.com/timeline/.
