Juliet Roberts IS "the English Donna Summer" lol. Jokes, aside, she is a formidable singer and performer, who I had the privilege to see, experience and even personally meet on a few occasions. Like Donna, she is a very underrated artist, who has started with Manhattan Transfer in the 80ies and also has an immense Jazz catalogue as well as produced commercial TV jingles and other voice overs. I can say single handedly that she is one of the very few artists that has an incredible gift vocally and I could pick her distinct voice out of a billion hearing her sing just one syllable.
Because Donna Summer's version is the well-known/much more popular version? I suppose self-fulfilling in a way as more people then know Donna Summer's version from radio airing it and giving more opportunity to encounter it, which then means more people know it. Just because Juliet Roberts was in the Top 40 with this version doesn't mean it has had impact on people much beyond the core audience for it. Perhaps the sales of singles in the 1970s were much more than they were in the 1990s when this was a hit? Not everything in the Top 40 is pop music - a record that reaches no 40 for a single week and then leaves that more visible part of the chart is hardly popular, may sell a few thousand copies to have reached that position, perhaps a few thousand specialist DJs to play in the (proper) clubs, not like a song that reaches Top 10, perhaps selling hundreds of thousands by remaining on the chart, selling week after week after week. It is longevity that matters for a true pop record not necessarily chart position. On this occasion, we have Donna Summer that spent 7 weeks in the Top 40 with her version and reached no 14, at a time when records used to climb the charts, like now when the charts are perhaps more commercial and more reflective of mainstream taste with the inclusion of downloads that are bought for home listening rather than music intended to be played in a club environment. This is against Juliet Roberts that reached no 17, which may seem a respectable position, but means there are many songs much more popular, many of which stayed on the Top 40 for much longer, when this only stayed in the Top 40 for three weeks. This is seen as specialist music rather than popular music. Now I come to think about it, I don't think I ever heard this version on radio except at the weekends, the chart programme, but otherwise in the evenings when much fewer people listen to the radio and they are specialist shows that I wrongly thought were pop music, when my pop music was actually going out of style, hitting the Top 40 regularly from them but either for a single week (in other words unless the mainstream daytime audience happened to listen on one specific week, likely won't be aware of the song at all) or else not much above position 24 that might give a song a second week on the chart, before falling, like these short-lived (in pop chart terms) dance songs do, by 18 places the following week for its second play - and never playlisted all week daytime. Therefore, I was once amazed, after I mentioned one of my favourite dance acts, that had had numerous Top 40 hits to my colleagues at work, who are pop fans that listen to radio in daytime during weekdays, that they didn't know who the dance act were. But I forgot - all but one of the chart entries they had was there was there for a single week and none of them were playlisted on daytime radio, so, if they missed the charts that week and don't go clubbing, they wouldn't be aware of the songs instead their minds on the songs that are there for ages and my records, each week, different each time, punctuating their hits with low new entries. Of the best new entry my favourite artist had, it was two weeks on the pop chart - a huge fall the second week, despite being a huge club hit, and if they missed the chart both those weeks, with no weekday daytime airplay, again no awareness of the song. Just because something charted in the Top 40 doesn't mean it crossed over into mainstream awareness and on this occasion, as with so many of the songs I liked around the late 1990s, probably bought by a few thousand DJs for its release and a few dance fans and then enough the following week to stay (just about) in the Top 40 - effectively specialist music, never playlisted on daytime radio, and not pop music in the charts often much higher for weeks and weeks, sometimes horrendous months on end, and on every radio station in daytime.
Apologies - unbelievably I forgot to mention something else - a quick UA-cam search that reveals Donna Summer's version has 7.2 million views on one copy and some more thousands elsewhere, whilst this version by Juliet Roberts has a few thousand views, which shows what the real pop song (sadly) is and that really this is specialist dance music on a largely little-visited page. Radio still has power in promoting songs, including through the amount of airplay they get, and driving traffic to the ones that people then generally view on UA-cam.
Juliet Roberts IS "the English Donna Summer" lol. Jokes, aside, she is a formidable singer and performer, who I had the privilege to see, experience and even personally meet on a few occasions. Like Donna, she is a very underrated artist, who has started with Manhattan Transfer in the 80ies and also has an immense Jazz catalogue as well as produced commercial TV jingles and other voice overs. I can say single handedly that she is one of the very few artists that has an incredible gift vocally and I could pick her distinct voice out of a billion hearing her sing just one syllable.
Didn't know she was English.
Donna was never underrated
This is one of my favorite ddr songs
She is my granddaughter’s choir teacher now and she is very good
Oh wow
DDR (Dance Dance Revolution) brought me here :D
Me too
I had this on CD single!
Oh love this version!! Too bad not on iTunes! :(
I bought the single back the day, will have to find it!
Dance Dance Revolution 2nd Mix :D
2:05 DDR 2ND MIX !! 😍😍😍
Juliet Roberts ,cool and beautiful.She sings so nice.1:41～This guy's goooooooooooooood!I wanna have his name and wallpaper of him for my room.
I do like her voice and she sings his song very well but, why all radios just keep playing the one by Donna Summer
Because Donna Summer's version is the well-known/much more popular version? I suppose self-fulfilling in a way as more people then know Donna Summer's version from radio airing it and giving more opportunity to encounter it, which then means more people know it. Just because Juliet Roberts was in the Top 40 with this version doesn't mean it has had impact on people much beyond the core audience for it. Perhaps the sales of singles in the 1970s were much more than they were in the 1990s when this was a hit?
Not everything in the Top 40 is pop music - a record that reaches no 40 for a single week and then leaves that more visible part of the chart is hardly popular, may sell a few thousand copies to have reached that position, perhaps a few thousand specialist DJs to play in the (proper) clubs, not like a song that reaches Top 10, perhaps selling hundreds of thousands by remaining on the chart, selling week after week after week. It is longevity that matters for a true pop record not necessarily chart position.
On this occasion, we have Donna Summer that spent 7 weeks in the Top 40 with her version and reached no 14, at a time when records used to climb the charts, like now when the charts are perhaps more commercial and more reflective of mainstream taste with the inclusion of downloads that are bought for home listening rather than music intended to be played in a club environment. This is against Juliet Roberts that reached no 17, which may seem a respectable position, but means there are many songs much more popular, many of which stayed on the Top 40 for much longer, when this only stayed in the Top 40 for three weeks.
This is seen as specialist music rather than popular music. Now I come to think about it, I don't think I ever heard this version on radio except at the weekends, the chart programme, but otherwise in the evenings when much fewer people listen to the radio and they are specialist shows that I wrongly thought were pop music, when my pop music was actually going out of style, hitting the Top 40 regularly from them but either for a single week (in other words unless the mainstream daytime audience happened to listen on one specific week, likely won't be aware of the song at all) or else not much above position 24 that might give a song a second week on the chart, before falling, like these short-lived (in pop chart terms) dance songs do, by 18 places the following week for its second play - and never playlisted all week daytime.
Therefore, I was once amazed, after I mentioned one of my favourite dance acts, that had had numerous Top 40 hits to my colleagues at work, who are pop fans that listen to radio in daytime during weekdays, that they didn't know who the dance act were. But I forgot - all but one of the chart entries they had was there was there for a single week and none of them were playlisted on daytime radio, so, if they missed the charts that week and don't go clubbing, they wouldn't be aware of the songs instead their minds on the songs that are there for ages and my records, each week, different each time, punctuating their hits with low new entries. Of the best new entry my favourite artist had, it was two weeks on the pop chart - a huge fall the second week, despite being a huge club hit, and if they missed the chart both those weeks, with no weekday daytime airplay, again no awareness of the song.
Just because something charted in the Top 40 doesn't mean it crossed over into mainstream awareness and on this occasion, as with so many of the songs I liked around the late 1990s, probably bought by a few thousand DJs for its release and a few dance fans and then enough the following week to stay (just about) in the Top 40 - effectively specialist music, never playlisted on daytime radio, and not pop music in the charts often much higher for weeks and weeks, sometimes horrendous months on end, and on every radio station in daytime.
Apologies - unbelievably I forgot to mention something else - a quick UA-cam search that reveals Donna Summer's version has 7.2 million views on one copy and some more thousands elsewhere, whilst this version by Juliet Roberts has a few thousand views, which shows what the real pop song (sadly) is and that really this is specialist dance music on a largely little-visited page. Radio still has power in promoting songs, including through the amount of airplay they get, and driving traffic to the ones that people then generally view on UA-cam.
A nice cast in this music vid : Pia Wurtzbach, Gal Gadot, Meryl Streep,Christoph Waltz
This exists!?!
Ikr
I'm going to say yes.
,ㅣㆍbadg😅