Dion - Donna the Prima Donna (1993)
BAND/ARTIST: Dion
- Title: Donna the Prima Donna
- Year Of Release: 1963
- Label: Columbia
- Genre: Pop Rock, Doo Wop
- Quality: flac lossless (tracks)
- Total Time: 00:31:22
- Total Size: 191 mb
- WebSite: Album Preview
Tracklist
01. Donna the Prima Donna
02. Can't We Be Sweethearts
03. Sweet, Sweet Baby
04. This Little Girl of Mine
05. Flim Flam
06. Troubled Mind
07. This Little Girl
08. Oh Happy Day
09. You're Mine
10. Donna
11. I Can't Believe (That You Don't Love Me Anymore)
12. Be Careful of Stones That You Throw
"Donna the Prima Donna" was one of Dion's last hits before the British Invasion interrupted his chart success for five years or so, reaching #6 in late 1963. It was written by the team of Dion and Ernie Maresca, who wrote or co-wrote a few songs recorded by Dion in the early 1960s, most notably "Runaround Sue." And, like "Runaround Sue" and those other songs, it milked a semi-chanted doo wop vocal hook that first descended and then rose again to its starting line, with the backup singers vocalizing "donna, donna, the prima donna" over and over in the intro and during the choruses. To some, it must have sounded a little formulaic for Dion at this point, and there would be some truth to that assertion. But "Donna the Prima Donna" was still a worthy hit record, if only because so much thought was put into the arrangement, putting some spin onto the familiar terrain. Especially rewarding was the opening almost a cappella vocal section, in which the round-like chants were backed by a slightly goofy bass voice, as well as what sounded like shuffling castanets. When the full band enters, as expected Dion comes on top with some rich hurt tough-guy wails. The lyrical motif of "Donna the Prima Donna," probably to the disappointment of those that respect women, was similar to that of "Runaround Sue" too: a woman that the guy falls for, but who turns out to have roving eyes. In "Donna the Prima Donna," he goes for the jugular, not just accusing her of being stuck-up, but coming down hard on her materialism as well. Donna's an archetype, perhaps, of a woman New York guys of the time were frustrated with, one who wouldn't settle down and who put on airs, but who they couldn't help lusting after. For all this, it's a pretty enjoyable record, with cool hooting harmonies by the backup singers during the verses, and a quite swinging and catchy blues-doo wop-pop verve. There's also a dramatic bridge that Dion brings to a crashing close by exclaiming he doesn't have a chance at romance with Donna without money.
01. Donna the Prima Donna
02. Can't We Be Sweethearts
03. Sweet, Sweet Baby
04. This Little Girl of Mine
05. Flim Flam
06. Troubled Mind
07. This Little Girl
08. Oh Happy Day
09. You're Mine
10. Donna
11. I Can't Believe (That You Don't Love Me Anymore)
12. Be Careful of Stones That You Throw
"Donna the Prima Donna" was one of Dion's last hits before the British Invasion interrupted his chart success for five years or so, reaching #6 in late 1963. It was written by the team of Dion and Ernie Maresca, who wrote or co-wrote a few songs recorded by Dion in the early 1960s, most notably "Runaround Sue." And, like "Runaround Sue" and those other songs, it milked a semi-chanted doo wop vocal hook that first descended and then rose again to its starting line, with the backup singers vocalizing "donna, donna, the prima donna" over and over in the intro and during the choruses. To some, it must have sounded a little formulaic for Dion at this point, and there would be some truth to that assertion. But "Donna the Prima Donna" was still a worthy hit record, if only because so much thought was put into the arrangement, putting some spin onto the familiar terrain. Especially rewarding was the opening almost a cappella vocal section, in which the round-like chants were backed by a slightly goofy bass voice, as well as what sounded like shuffling castanets. When the full band enters, as expected Dion comes on top with some rich hurt tough-guy wails. The lyrical motif of "Donna the Prima Donna," probably to the disappointment of those that respect women, was similar to that of "Runaround Sue" too: a woman that the guy falls for, but who turns out to have roving eyes. In "Donna the Prima Donna," he goes for the jugular, not just accusing her of being stuck-up, but coming down hard on her materialism as well. Donna's an archetype, perhaps, of a woman New York guys of the time were frustrated with, one who wouldn't settle down and who put on airs, but who they couldn't help lusting after. For all this, it's a pretty enjoyable record, with cool hooting harmonies by the backup singers during the verses, and a quite swinging and catchy blues-doo wop-pop verve. There's also a dramatic bridge that Dion brings to a crashing close by exclaiming he doesn't have a chance at romance with Donna without money.
Pop | Rock | FLAC / APE
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