Gloria Gaynor -

Gloria Gaynor is an American singer whose recording career began with a 1965 Jocida single and expanded through MGM, Polydor, Atlantic, Silver Blue, and Stylus releases. She reached No. 1 on the Billboard Hot 100 chart with “I Will Survive” and placed “Never Can Say Goodbye” and “I Am What I Am” in the Top 20 of the UK Singles Chart.

Background

Gloria Fowles was born on September 7, 1943, in Newark, New Jersey. Her father, Daniel Fowles, played ukulele and guitar and sang in nightclubs, while her brothers formed a gospel quartet. She graduated from South Side High School in 1961 and entered Newark clubs through a neighborhood referral to a local band.

Fowles later sang with the Soul Satisfiers. Johnny Nash produced the 1965 Jocida single “She’ll Be Sorry” (b/w “Let Me Go Baby”), and Jocida credited the record to Gloria Gaynor. Columbia released “Honeybee” in August 1973, then MGM brought Gaynor into a production team assembled by Meco Monardo, Tony Bongiovi, and Jay Ellis for her debut album.

Never Can Say Goodbye

Gloria Gaynor released her debut album, Never Can Say Goodbye, on January 23, 1975, through MGM.

The first side joins “Honey Bee,” “Never Can Say Goodbye,” and “Reach Out, I’ll Be There” as a continuous nineteen-minute sequence assembled for uninterrupted club play. Five shorter selections fill the reverse, including the Gaynor originals “False Alarm” and “Real Good People.”

“Honey Bee” surges through sweeping strings, bright-edged brass, and extended instrumental passages. “Never Can Say Goodbye” gallops beneath a jubilant lead and agile orchestral figures. “Reach Out, I’ll Be There” flashes through abrupt horn calls and chiming guitar figures. “Searchin’” swells from a dramatic entrance into high, urgent phrases. “We Belong Together” glides into an intimate duet with a darker instrumental cast. “Real Good People” belts across brisk handclaps as backing singers reinforce each phrase.

A1. “Honey Bee” (6:00) – Mervin Steals, Melvin Steals, Matthew Ledbetter
A2. “Never Can Say Goodbye” (6:18) – Clifton Davis
A3. “Reach Out, I’ll Be There” (6:15) – Brian Holland, Lamont Dozier, Eddie Holland

B1. “All I Need Is Your Sweet Lovin’” (2:47) – Bobby Flax, Larry Lambert
B2. “Searchin’” (2:55) – Casey Spencer
B3. “We Belong Together” (2:51) – Lester Hodelin, Patricia Shells
B4. “False Alarm” (3:40) – Don Coan, Gloria Gaynor
B5. “Real Good People” (3:02) – Gaynor

Paul Leka produced “Honey Bee,” while Meco Monardo, Tony Bongiovi, and Jay Ellis produced the remaining 1974 sessions at Media Sound in New York City with Bongiovi as engineer. Mix specialist Tom Moulton joined the opening sequence; Bongiovi also engineered the contemporaneous Jimi Hendrix archive projects Crash Landing and Midnight Lightning.

David Krieger designed the sleeve under MGM art director Bill Levy, using New York photographer Bernie Block’s close portrait against a dark field. Levy retained package oversight for Gaynor’s second album later that year.

Columbia issued “Honey Bee” in August 1973 (b/w “All It Took Boy Was Losing You”), and MGM reissued the recording in January 1974 as part of the debut-album campaign. “Never Can Say Goodbye” followed in September 1974 (b/w “We Just Can’t Make It”) and reached No. 9 on the Billboard Hot 100 chart, No. 1 on the Dance Club Songs chart, and No. 2 on the UK Singles Chart. MGM lifted “Reach Out, I’ll Be There” in February 1975 (b/w “Searchin’”), which reached No. 60 on the Billboard Hot 100 chart and No. 14 on the UK Singles Chart.

Never Can Say Goodbye reached No. 25 on the Billboard 200, No. 21 on the Top Soul LPs chart, and No. 32 on the UK Albums Chart. Big Break Records expanded the album on CD in 2010 with single edits and non-album sides.

Experience Gloria Gaynor

Gaynor released her second album, Experience Gloria Gaynor, on September 5, 1975, through MGM.

The album preserves the continuous-side format with “Casanova Brown,” “(If You Want It) Do It Yourself,” and “How High the Moon” linked across the opening sequence. Five separate performances occupy the reverse, where Gaynor contributed the original “I’m Still Yours” and recorded the Dionne Warwick classic “Walk On By.”

“Casanova Brown” drifts through dreamy string flurries and cooing backing phrases. “How High the Moon” glides through a glossy orchestral sweep and unbroken transitions. “What’ll I Do” lingers through a melancholy lead and measured phrasing. “Tell Me How” coasts through easygoing phrases with delicate brass touches. “Walk On By” surges as Gaynor sings out to a recent ex-lover with heartbroken resign.

A1. “Casanova Brown” (6:23) – Jimmy Roach
A2. “(If You Want It) Do It Yourself” (5:58) – James Bolden, Jack Robinson
A3. “How High the Moon” (6:35) – Morgan Lewis, Nancy Hamilton

B1. “The Prettiest Face I’ve Ever Seen” (3:00) – Marie Cain
B2. “What’ll I Do” (4:33) – Burton Senior, Chris Essel
B3. “Tell Me How” (3:11) – Lester Hodelin
B4. “I’m Still Yours” (3:28) – Gloria Gaynor
B5. “Walk On By” (5:42) – Burt Bacharach, Hal David

Meco Monardo, Tony Bongiovi, and Jay Ellis produced the 1975 sessions at Media Sound and Dimensional Sound in New York City, with additional work at Track Recorders in Washington, D.C. Engineers Michael DeLugg, Bob Halsall, and Kim Stallings recorded the album before Tom Moulton completed the continuous mix.

Photographer Norman Seeff placed Gaynor in a frontal studio portrait, while designer Peter Corriston and art director Bill Levy built the surrounding MGM package. Corriston also co-designed Led Zeppelin’s die-cut Physical Graffiti sleeve in the same release year.

MGM issued “Walk On By” in June 1975 (b/w “Real Good People”). “(If You Want It) Do It Yourself” followed in August (b/w “I’m Still Yours”) and reached No. 98 on the Billboard Hot 100 chart, No. 24 on the Hot Soul Singles chart, and No. 1 on the Dance Club Songs chart. “How High the Moon” appeared in November (b/w “My Man’s Gone”) and reached No. 1 on the Dance Club Songs chart and No. 33 on the UK Singles Chart.

Experience Gloria Gaynor reached No. 64 on the Billboard 200 and No. 32 on the Top Soul LPs chart. Big Break Records expanded the album on CD in 2010 with single versions and the non-album track “My Man’s Gone.”

I’ve Got You

Gaynor released her third album, I’ve Got You, on July 20, 1976, through Polydor.

The first side connects “Let’s Make a Deal,” “I’ve Got You Under My Skin,” and “Be Mine” in Gaynor’s final continuous LP sequence. Five compact songs fill the second side, and Curtis Blandon supplied three titles across the album.

“Let’s Make a Deal” saunters through an inviting lead and seamless suite entry. “I’ve Got You Under My Skin” lingers across prolonged repetitions and a freshly recast standard. “Be Mine” glides through elegant accents within a continuous suite. “Touch of Lightning” settles into smooth, lushly arranged phrases.

A1. “Let’s Make a Deal” (4:20) – Curtis Blandon
A2. “I’ve Got You Under My Skin” (7:49) – Cole Porter
A3. “Be Mine” (4:56) – Don Oriolo

B1. “Touch of Lightning” (3:42) – Joey Levine
B2. “Let’s Make Love” (3:49) – Curtis Blandon
B3. “Nothing in This World” (3:23) – Thomas Major
B4. “Do It Right” (3:06) – Curtis Blandon
B5. “Talk, Talk, Talk” (5:44) – Don Oriolo

Meco Monardo, Tony Bongiovi, and Jay Ellis completed their third Gaynor production at Media Sound and Dimensional Sound in New York City and Track Recorders in Silver Spring, Maryland, with engineers Bongiovi, Bob Halsall, and Bob Valicenti. The sessions preceded Bongiovi’s engineering work on the Ramones albums Leave Home and Rocket to Russia, while Monardo moved into the studio project Star Wars and Other Galactic Funk.

Photographer Joe Williams supplied the silver-toned cover portrait, which places Gaynor behind reflective lettering and a close crop. The label carried the image across the LP and related single sleeves without a separate design credit.

Polydor issued “Touch of Lightning” in August 1976 (b/w “Do It Right”). “Let’s Make a Deal” followed in November (b/w “Let’s Make Love”) and reached No. 4 on the Dance Club Songs chart and No. 95 on the Hot Soul Singles chart.

I’ve Got You reached No. 107 on the Billboard 200 and No. 40 on the Top Soul LPs chart. Big Break Records expanded the album in 2015 with two single versions.

Glorious

Gaynor released her fourth album, Glorious, on February 18, 1977, through Polydor.

Gregg Diamond and Joe Beck replaced Gaynor’s original production team and divided the material between four Diamond compositions and three Beck–George Flame collaborations. Beck also played guitar, while drummer Allan Schwartzberg and bassist Jim Gregory anchored a New York session cast.

“Why Should I Pay” surges through nonstop rhythm and a soulful lead. “As Time Goes By” flashes through piano figures, searing guitar phrases, and a brief interlude. “Most of All” glides across a repeated vamp, dreamlike strings, and softly drawn phrases. “We Can Start All Over Again” quickens through buoyant phrases.

“Sweet Sweet Melody” drifts through atmospheric backing and restrained phrasing. “Life Ain’t Worth Living” barrels through urgent phrases under passionate declamation. “This Side of the Pain” saunters over an insistent bass line and a smooth saxophone solo. “So Much Love” simmers through slow-burning phrases and Gaynor’s deepest sensual tones.

A1. “Why Should I Pay” (3:38) – Gregg Diamond
A2. “As Time Goes By/The Hands of Time” (5:05) – Herman Hupfeld/Gregg Diamond
A3. “Most of All” (8:57) – Gregg Diamond

B1. “We Can Start All Over Again” (5:07) – Joe Beck, George Flame
B2. “Sweet Sweet Melody” (4:25) – Beck, Flame
B3. “Life Ain’t Worth Living” (2:58) – Melvin Seals
B4. “This Side of the Pain” (3:15) – Gregg Diamond
B5. “So Much Love” (4:41) – Beck, Flame

Gregg Diamond and Joe Beck produced the New York sessions with engineer and mix specialist Godfrey Diamond, who also played percussion. The Diamond brothers carried the same production partnership into the 1977 Bionic Boogie album, where Luther Vandross and Gwen Guthrie supplied selected lead parts.

Illustrator David Croland rendered Gaynor as a painted close portrait beneath Beverly Parker’s compact Polydor typography. Croland worked across contemporary music and fashion commissions, while Parker also directed Polydor packages for other label releases from the same period.

Polydor lifted “Most of All” in April 1977 (b/w “So Much Love”). “We Can Start All Over Again” followed as a club single and reached No. 38 on the Dance Club Songs chart.

Glorious reached No. 183 on the Billboard 200 chart. Big Break Records reissued the album in 2016 with the single version of “Most of All.”

Gloria Gaynor’s Park Avenue Sound

Gaynor released her fifth album, Gloria Gaynor’s Park Avenue Sound, on March 13, 1978, through Polydor.

Gaynor recorded the album at Sigma Sound Studios in Philadelphia. Norman Harris, Ron Tyson, and Allan Felder supplied four songs, while Gaynor co-wrote “This Love Affair” and “Sweet Sounds for My Baby.” Guitarists Harris and Bobby Eli joined bassist Ron Baker and other Philadelphia session players across the program.

“This Love Affair” swings through jubilant brass, strings, creamy backing replies, and a confident lead. “Part Time Love (Is a Full Time Job)” struts across a persuasive beat and joyful bass line under Gaynor’s sassy delivery. “Everytime You Make Love to Me” bubbles through peppy midtempo phrases and easy assurance.

“For the First Time in My Life” glides across sunny phrases and an electric-sitar figure. “You’re All I Need to Get By” careens through a direct dancefloor run and firm declarations. “After the Lovin’/Sweet Sounds for My Baby” settles into sensual, mellower phrases and tender declarations. “Kidnapped” snaps through earthy accents, orchestral flourishes, and backing replies.

A1. “This Love Affair” (4:15) – Gloria Gaynor, Connell Johnson Jr., Al Stewart
A2. “Part Time Love (Is a Full Time Job)” (4:19) – Norman Harris, Ron Tyson, Allan Felder
A3. “Everytime You Make Love to Me” (4:06) – Harris, Tyson, Felder
A4. “For the First Time in My Life” (3:49) – Harris, Tyson, Felder

B1. “You’re All I Need to Get By” (5:11) – Nickolas Ashford, Valerie Simpson
B2. “After the Lovin’/Sweet Sounds for My Baby” (6:12) – Alan Bernstein, Ritchie Adams/Gloria Gaynor, Linwood Simon
B3. “Kidnapped” (5:16) – Harris, Tyson, Felder

Philadelphia group Tan produced five selections, with Al Stewart and Connell Johnson Jr. sharing production on “This Love Affair.” Joel Diamond produced “You’re All I Need to Get By” and the side-two medley, while Sigma chief engineer Carl Paruolo supervised the tapes amid work for Philadelphia International and Salsoul sessions.

Graphic designer Basil Pao structured the package around Christian Piper’s metropolitan fashion illustration of Gaynor. Pao’s mid-Seventies sleeve work also included Eddie Harris’s Is It In and Arif Mardin’s Journey, both recognized by the Art Directors Club.

Polydor issued “This Love Affair” in 1978 (b/w “For the First Time in My Life”). “You’re All I Need to Get By” appeared with “Kidnapped” on a twelve-inch release and reached No. 24 on the Dance Club Songs chart.

Universal and Big Break Records issued a deluxe edition in 2013 with the twelve-inch version of “You’re All I Need to Get By,” the single version of “This Love Affair,” and alternate mixes.

Love Tracks

Gaynor released her sixth album, Love Tracks, on November 27, 1978, through Polydor.

Dino Fekaris and Freddie Perren supplied five of the eight songs, including “I Will Survive.” Drummer James Gadson, guitarists Wah Wah Watson and Robert White, percussionist Paulinho da Costa, and singers Julia Tillman Waters, Maxine Willard Waters, and Stephanie Spruill formed the principal session group.

“Stoplight” snaps through shouted commands and a bubbly, pulsating beat. “Anybody Wanna Party?” barrels through a hot, earthy drive and emphatic phrases. “Please Be There” pleads through smooth orchestration and measured turns. “Goin’ Out of My Head” careens through dramatic orchestration, rapid syllables, and extended passages.

“I Will Survive” strides through fluttering strings and a solitary lead. “You Can Exit” struts from a wiry opening figure into sultry, sustained phrases. “I Said Yes” drives across a hard beat and assertive declarations. “Substitute” skips through light syncopation and breezy phrases.

A1. “Stoplight” (3:38) – Dino Fekaris, Freddie Perren
A2. “Anybody Wanna Party?” (5:14) – Fekaris, Perren
A3. “Please, Be There” (4:30) – Fekaris, David Van De Pitte
A4. “Goin’ Out of My Head” (5:33) – Teddy Randazzo, Bobby Weinstein

B1. “I Will Survive” (4:56) – Fekaris, Perren
B2. “You Can Exit” (5:16) – Fekaris, Perren
B3. “I Said Yes” (3:59) – Fekaris, Perren
B4. “Substitute” (3:15) – Willie H. Wilson

Fekaris produced the 1978 sessions at Mom & Pop’s Company Store in Studio City, with Perren as associate producer and Jack Rouben and Lewis Peters as recording and remix engineers. Their work overlapped the Fekaris–Perren production of Peaches & Herb’s 2 Hot!, another album built at the same Los Angeles studio.

Atlantic art director Bob Heimall designed the black-ground portrait sleeve, which isolates Gaynor beneath white lettering. The original LP identifies no separate photographer, so Heimall’s layout remains the documented visual credit.

Polydor issued “Substitute” in August 1978 (b/w “I Will Survive”), then promoted the reverse in December. “I Will Survive” reached No. 1 on the Billboard Hot 100 chart, the Dance Club Songs chart, and the UK Singles Chart, along with No. 4 on the Hot Soul Singles chart. “Anybody Wanna Party?” followed in April 1979 (b/w “Please, Be There”) and reached No. 16 on the Hot Soul Singles chart.

Love Tracks reached No. 4 on the Billboard 200 and Top Soul LPs charts, plus No. 31 on the UK Albums Chart. Big Break Records expanded the album in 2013 with single edits and twelve-inch versions.

I Have a Right

Gaynor released her seventh album, I Have a Right, on September 24, 1979, through Polydor.

Dino Fekaris and Freddie Perren retained the Los Angeles session format and wrote most of the program. Doc Severinsen plays trumpet on “Let Me Know (I Have a Right)” and “Tonight,” while Gaynor shares the “Say Somethin’” credit with the production pair.

“Let Me Know (I Have a Right)” strides through urgent strings and a firm, declarative lead. “Say Somethin’” settles into measured phrases and a slower lead. “Don’t Stop Us” charges through brisk phrases. “Tonight” careens through glossy orchestration, rapid phrases, and Doc Severinsen’s trumpet solo. “Midnight Rocker” surges through fast phrases.

A1. “Let Me Know (I Have a Right)” (8:22) – Dino Fekaris, Freddie Perren
A2. “Say Somethin’” (5:10) – Fekaris, Perren, Gloria Gaynor
A3. “You Took Me In Again” (6:41) – Fekaris, Perren
A4. “Don’t Stop Us” (4:08) – Fekaris, Perren

B1. “Tonight” (7:18) – Leonard Bernstein, Stephen Sondheim
B2. “Can’t Fight the Feelin’” (4:28) – Beatrice Verdi, Freddie Perren
B3. “Midnight Rocker” (6:05) – Fekaris, Perren
B4. “One Number One” (4:38) – Fekaris, Perren

Fekaris produced the 1979 sessions at Mom & Pop’s Company Store in Studio City with Perren as associate producer and Lewis Peters as engineer. The same team also completed Peaches & Herb’s Twice the Fire in the surrounding release period, while Rick Clifford assisted both Gaynor studio projects.

Photographer Norman Seeff designed the sleeve around a controlled studio portrait, returning after his work on Experience Gloria Gaynor. Seeff also photographed Narada Michael Walden for the 1979 album The Dance of Life.

Polydor issued “Let Me Know (I Have a Right)” in September 1979 (b/w “One Number One”), which reached No. 42 on the Billboard Hot 100 chart, No. 19 on the Dance Club Songs chart, and No. 32 on the UK Singles Chart. “Midnight Rocker” followed in January 1980 (b/w “Can’t Fight the Feelin’”).

I Have a Right reached No. 58 on the Billboard 200, No. 56 on the Top Soul LPs chart, and No. 34 on the UK Albums Chart.

Stories

Gaynor released her eighth album, Stories, on May 20, 1980, through Polydor.

Stories marked the third and final Fekaris–Perren production and reduced the long-form arrangements to eight discrete songs. Bassists Nathan East and Nathan Watts, guitarist David T. Walker, keyboardist Clarence McDonald, and saxophonist Ernie Watts joined the Los Angeles sessions; Gaynor co-wrote “Don’t Read Me Wrong” with Eddie Sierra.

“Ain’t No Bigger Fool” springs from piano into brisk strings, warm backing replies, and a late register climb. “I Let Love Slip Right Through My Hands” settles into reflective phrases and a late key change. “On a Diet of You” struts through buoyant dance accents. “Lock Me Up” lopes across a plodding bass line and easy lead placement.

“All My Life” sweeps through orchestral flourishes as Gaynor holds a lower register before a late rise. “Don’t Read Me Wrong” lingers on measured phrases and broad dynamic range. “The Luckiest Girl in the World” sways through close harmonies and a late flute figure. “Make Me Yours” flashes through swooping accompaniment and brisk accents.

A1. “Ain’t No Bigger Fool” (4:33) – Dino Fekaris, Freddie Perren
A2. “I Let Love Slip Right Through My Hands” (4:46) – Fekaris, Perren
A3. “On a Diet of You” (4:42) – Fekaris, Perren
A4. “Lock Me Up” (3:46) – Fekaris, Perren

B1. “All My Life” (4:25) – Christine Yarian, Samuel F. Brown III
B2. “Don’t Read Me Wrong” (3:47) – Eddie Sierra, Gloria Gaynor
B3. “The Luckiest Girl in the World” (5:10) – Fekaris, Perren
B4. “Make Me Yours” (3:23) – Fekaris, Perren

Fekaris and Perren produced and remixed the 1980 sessions at Mom & Pop’s Company Store in Studio City with engineer Pete Bishop and assistant David Goldstein. Bishop replaced Lewis Peters at the console while Perren completed concurrent work with Tavares and the Sylvers.

Norman Seeff photographed Gaynor for a second consecutive sleeve, using a close studio image beneath the Polydor title treatment. The session followed Seeff’s 1979 covers for Gaynor and Narada Michael Walden.

Polydor lifted “Ain’t No Bigger Fool” in April 1980 (b/w “The Luckiest Girl in the World”). Stories reached No. 178 on the Billboard 200 chart.

I Kinda Like Me

Gaynor released her ninth album, I Kinda Like Me, on June 15, 1981, through Polydor.

Gene McFadden, John Whitehead, and Jerry Cohen moved the sessions back to Sigma Sound Studios in Philadelphia. Gaynor and Eddie Sierra wrote four songs together, while “When You Get Around to It” added Pam Tillis and Dana Thomas to her album credits.

“I Kinda Like Me” bounces through sweeping strings and playful assurance. “Fingers in the Fire” flares from a siren-like entrance into heavy bass and dramatic guitar phrases. “Let’s Mend What’s Been Broken” glides through muted accents and mellow accompaniment. “Yesterday We Were Like Buddies” drifts through warm phrases and supporting harmonies.

“I Can Stand the Pain” careens through orchestral flurries and wide-register turns. “I Love You Cause” lingers over uncluttered backing and a moody saxophone line. “When You Get Around to It” coils from spare restraint into fuller orchestral passages. “Chasin’ Me Into Somebody Else’s Arms” skips through upbeat lines, backing replies, and simple synthesizer accents. “The Story of the Joneses” settles into slow phrases and uplifting harmonies.

A1. “I Kinda Like Me” (6:12) – Gloria Gaynor, Eddie Sierra
A2. “Fingers in the Fire” (3:20) – Gaynor, Sierra
A3. “Let’s Mend What’s Been Broken” (4:27) – Gene McFadden, John Whitehead, Jerry Cohen
A4. “Yesterday We Were Like Buddies” (5:52) – McFadden, Whitehead, Victor Carstarphen

B1. “I Can Stand the Pain” (4:26) – Gaynor, Sierra
B2. “I Love You Cause” (5:02) – Gaynor, Sierra
B3. “When You Get Around to It” (3:58) – Gaynor, Pam Tillis, Dana Thomas
B4. “Chasin’ Me into Somebody Else’s Arms” (5:16) – Mark Barkan, Ritchie Adams
B5. “The Story of the Joneses” (3:26) – Alfie Davison, Meri Merriwether, Ted Lehrman

McFadden, Whitehead, and Cohen produced the 1981 sessions at Sigma Sound in Philadelphia with engineer Dirk Devlin. The producers arrived from McFadden & Whitehead’s Philadelphia International run, which included the 1979 album and single “Ain’t No Stoppin’ Us Now.”

New York photographer Anthony Barboza supplied the cover portrait under Bob Heimall’s art direction and Martha Savitzky’s design. Barboza, a member of the Kamoinge Workshop, also photographed jazz and soul performers for editorial and record assignments across the same period.

Polydor issued “Let’s Mend What’s Been Broken” in June 1981 (b/w “I Love You Cause”), which reached No. 76 on the Hot Soul Singles chart. “I Kinda Like Me” followed in August (b/w “Fingers in the Fire”).

The album reached No. 206 on the Billboard Bubbling Under the Top LPs survey.

Gloria Gaynor

Gaynor released her self-titled tenth album on November 1, 1982, through Atlantic.

Yves Dessca, Rick Stevens, Amir Bayyan, Linwood Simon, and Ollie E. Brown divided production across four Los Angeles and New York studios. The eight-song program includes the Holland–Dozier–Holland standard “Stop in the Name of Love,” three Simon co-writes, and one Brown collaboration.

“Stop in the Name of Love” struts through slick accents, earnest pleas, and emphatic backing replies. “Mack-Side” lopes over an insinuating bass line and prominent saxophone phrases. “Tease Me” bounces through bright synthesizer accents and playful delivery.

“America” charges from a stately quotation into boisterous brass and children’s replies. “For You, My Love” glides through midtempo strings and restrained romantic phrasing. “Even a Fool Would Let Go” lingers through dramatic orchestration and controlled declarations.

A1. “Stop in the Name of Love” (4:12) – Brian Holland, Lamont Dozier, Eddie Holland
A2. “Runaround Love” (4:18) – Fred Washington, Judy Wieder, Ollie E. Brown, Paul Jackson Jr.
A3. “Mack-Side” (4:12) – Carlos Alomar, Linwood Simon
A4. “Tease Me” (5:03) – James Washington, Thomas Woods

B1. “America” (5:28) – Linwood Simon, Norbert Sloley
B2. “For You, My Love” (4:14) – Simon, Sloley
B3. “Love Me Real” (5:13) – Kathy Wakefield, William Smith
B4. “Even a Fool Would Let Go” (3:27) – Kerry Chater, Tom Snow

Sessions in 1982 took place at Ameraycan Studios and Kendun Recorders in California, with further work at Atlantic Studios and the Power Station in New York City. Mike Stone, Questar Welch, and B. Mraz handled engineering across the split production; Stone also worked on Asia’s self-titled 1982 album and Journey’s Escape in the surrounding period.

Atlantic art director Bob Defrin paired Francisco Macias’s design with photographer R. Lewis’s close portrait. Defrin’s adjacent label work included AC/DC’s For Those About to Rock We Salute You, another sleeve built around a single emblematic front image.

Atlantic issued “Tease Me” in October 1982 (b/w “Mack-Side”). “Stop in the Name of Love” followed in January 1983 (b/w “For You, My Love”), and “America” appeared in May (b/w “Runaround Love”).

Gloria Gaynor reached No. 210 on the Billboard Bubbling Under the Top LPs survey. Hot Productions issued the album on CD in 1997 with two new versions of “I Will Survive”; Big Break Records replaced those additions with period single and twelve-inch mixes on a 2014 reissue.

I Am Gloria Gaynor

Gaynor released her eleventh album, I Am Gloria Gaynor, on January 20, 1984, through Silver Blue.

Joel Diamond produced a program built from outside compositions, including Jerry Herman’s “I Am What I Am” from the Broadway musical La Cage aux Folles. Gaynor and Diamond wrote “More Than Enough,” while Linwood Simon returned as co-writer of “Strive.”

“I Am What I Am” rises from a quiet entrance into sparse orchestration, a steady beat, and firm declarations. “Chain of Whispers” strides through brisk backing and uplifted phrases. “Strive” quickens through buoyant accents and affirmative delivery. “Bullseye” bounds through upbeat phrases and direct declarations.

A1. “I Am What I Am” (5:56) – Jerry Herman
A2. “Chain of Whispers” (5:23) – Mike Shepstone, Peter Dibbens
A3. “Strive” (4:52) – Julius Joseph Davis, Linwood Simon
A4. “Eeny Meeny Macker Rack” (4:01) – Miriam Stockley, Philip Lane, Stephen Idemark

B1. “Bullseye” (4:49) – Elaine Lifton, Gloria Nissenson
B2. “Only in a Love Song” (4:37) – Albert Pantino
B3. “I’ve Been Watching You” (4:30) – Galen Underwood, Ken Krasner
B4. “More Than Enough” (3:55) – Gloria Gaynor, Joel Diamond

Sessions spanned 1982 through 1983 with producer Joel Diamond and engineers Jay Mark and Jim Dougherty; Diamond mixed the masters with Bruce Gable. Mark also engineered remixes for Madonna’s 1983 debut album.

Art director Allen Weinberg built the package around a formal portrait by Art Kane, the New York photographer responsible for the 1958 jazz group image A Great Day in Harlem. Kane framed Gaynor in a seated pose beneath a restrained title treatment.

Silver Blue issued “I Am What I Am” in September 1983 (b/w “More Than Enough”), which reached No. 102 on the Billboard Bubbling Under the Hot 100 survey, No. 82 on the Hot Black Singles chart, No. 3 on the Dance Club Songs chart, and No. 13 on the UK Singles Chart. “Strive” followed in April 1984 (b/w “I’ve Been Watching You”).

Hot Productions retitled the album I Am What I Am for a 1996 CD reissue and added two selections from Gloria Gaynor’s Park Avenue Sound.

The Power

Gaynor released her twelfth album, The Power, in 1986 through Stylus.

The UK-only set collects fourteen versions of contemporary pop songs and standards, plus the Gaynor co-writes “Don’t You Dare Call It Love” and “Top Shelf.” Stylus added a bonus twelve-inch record with a four-song hits medley and a remix of “Don’t You Dare Call It Love.”

“The Eye of the Tiger” strides through polished accompaniment and forceful declarations. “The Power of Love” swells through measured backing and broad phrases. “Everybody Wants to Rule the World” glides through a shifted harmonic setting under a steady lead.

A1. “The Eye of the Tiger” (3:57) – Frankie Sullivan, Jim Peterik
A2. “The Heat Is On” (4:20) – Harold Faltermeyer, Keith Forsey
A3. “Feel So Real” (3:53) – Ivan Arrington, Steve Arrington
A4. “The Power of Love” (4:06) – Candy de Rouge, Gunther Mende, Jennifer Rush, Mary Susan Applegate
A5. “Everybody Wants to Rule the World” (4:02) – Roland Orzabal, Ian Stanley, Chris Hughes
A6. “What a Wonderful World” (3:14) – Lou Adler, Herb Alpert, Sam Cooke
A7. “Every Breath You Take” (2:45) – Sting

B1. “Don’t You Dare Call It Love” (4:45) – Gloria Gaynor, R. Nelson, S. Barnes
B2. “Everytime You Go Away” (3:52) – Daryl Hall
B3. “Broken Wings” (5:04) – Richard Page, Steve George, John Lang
B4. “Suddenly” (3:40) – Billy Ocean, Keith Diamond
B5. “Top Shelf” (4:54) – Gloria Gaynor, Linwood Simon
B6. “He’s Out of My Life” (3:28) – Tom Bahler
B7. “I Want to Know What Love Is” (4:05) – Mick Jones

C1. “Greatest Hits Medley” (9:38) – Dino Fekaris, Freddie Perren/Clifton Davis/Brian Holland, Lamont Dozier, Eddie Holland/Jerry Herman

D1. “Don’t You Dare Call It Love” (Remix) (5:47) – Gloria Gaynor, R. Nelson, S. Barnes

Steve Rowland produced the London sessions at Red Bus Studios with engineer Gordon Milne. Rowland also supervised Red Bus projects for Jocelyn Brown and Oliver Cheatham in the same period.

Photographer Richard Haughton supplied the gatefold portrait, while stylist Anne Docherty coordinated Gaynor’s presentation for the Stylus package. Haughton also photographed Roxy Music for Peter Saville Associates’ 1986 compilation The Atlantic Years.

Stylus issued “Don’t You Dare Call It Love” as a 1986 twelve-inch single (b/w “Every Breath You Take”). The Power reached No. 81 on the UK Albums Chart and later circulated under the alternate titles The Power of Gloria Gaynor and The Power of Love.

Discography: