It was 1979. Disco wasn't just a genre; it was a fever. But even at the height of the glitter-ball era, nobody actually expected the world’s most precise Broadway-pop perfectionist to team up with the undisputed Queen of Disco.
When Barbra Streisand No More Tears (Enough Is Enough) hit the airwaves, it didn't just climb the charts. It exploded. We’re talking about two of the most intimidating voices in music history standing in the same room, trying to out-sing each other. Honestly, the session was less of a collaboration and more of a vocal heavyweight championship.
The Day the Oxygen Ran Out
If you’ve read Barbra’s recent memoir, My Name Is Barbra, you already know the story that sounds like a fever dream. During a rehearsal for that massive, sustained high note near the end of the song, both women went for it. Full power. No holding back.
Donna Summer literally passed out.
She fell right off her stool. Barbra, eyes closed and lost in the music, kept holding the note. When Donna came to on the floor, she looked up and couldn't believe it. Barbra was still singing. They both ended up laughing about it, but it shows you exactly how much energy was in that studio. They weren't just making a record; they were trying to survive it.
Why "Enough Is Enough" Almost Didn't Have Water
The song was originally titled just "Enough Is Enough." However, Barbra was working on her concept album Wet. Every single song had to have something to do with water. Rain, oceans, splash—she was obsessed with the theme. To make the duet fit, they added the "No More Tears" prefix.
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Basically, the title change was a branding move.
Two Labels, One Massive Hit
The logistics were a nightmare. Barbra was on Columbia. Donna was on Casablanca. Back then, labels didn't like sharing their superstars. They eventually agreed to a weird "amalgamated" sales deal where both labels could release it.
If you bought the 7-inch single, you got a radio edit. But if you were a club kid, you went for the Casablanca 12-inch version. That 11-minute marathon is a masterpiece of build-up. It starts as a slow, soulful ballad—the kind of thing Barbra could do in her sleep—and then, at the two-minute mark, the bass kicks in.
Boom. Pure disco adrenaline.
The Personnel Behind the Magic
You don't get a sound that big without some heavy hitters in the booth.
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- Producers: Gary Klein (Barbra’s guy) and Giorgio Moroder (Donna’s disco architect).
- Songwriters: Paul Jabara and Bruce Roberts. Jabara was the guy who wrote "Last Dance," so he knew exactly how to structure a "slow-to-fast" anthem.
- Guitars: Jay Graydon and Jeff "Skunk" Baxter. Yes, that Skunk Baxter from Steely Dan and The Doobie Brothers.
The Performance That Never Happened
Here is the part that still bugs fans decades later: they never performed it together live. Not once.
Think about that. The biggest female duet in history, a multi-platinum #1 hit, and there isn't a single frame of film showing them on stage together. Donna eventually sang it with her sister, Mary Gaines Bernard, or with stars like Tina Arena. Barbra didn't touch it live for years.
It wasn't until her 2012 "Back to Brooklyn" tour that Barbra finally brought it back. By then, Donna had passed away. Barbra sang it against a backdrop of photos, a tribute to her friend. It was beautiful, but it definitely felt like a missed opportunity for the ages.
Why Barbra Streisand No More Tears Still Works
Most disco tracks from 1979 sound dated. They’re "kinda" cheesy. But this one? It’s different.
The arrangement by Greg Mathieson is tight. The "Enough is enough is enough!" refrain isn't just a hook; it's a declaration of independence that still resonates at every wedding and drag brunch on the planet. It’s a song about taking your power back.
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What You Should Do Next
If you’ve only ever heard the short radio version, you’re missing the point. Go find the full 11-minute "On the Radio" version.
Listen for the moment the "electronic" elements—mostly Harold Faltermeyer’s work—start to take over. You can hear the exact second where the song transitions from a 70s ballad into the foundation of 80s dance music.
Also, check out the different mixes. The Columbia 7-inch has a slightly different vocal arrangement than the Casablanca version. If you’re a real nerd, try to spot the "shit" mistake Donna makes at the 16:38 mark of some unedited studio tapes floating around YouTube. It’s a rare human moment from two legends who usually sounded like machines.
Stop listening to the 3-minute edits. Put on the full version, turn up the bass, and appreciate what happens when two titans decide to share a microphone.
Practical Next Steps:
- Listen to the "Wet" album version: This 8:19 cut is the sweet spot between the radio edit and the 12-minute marathon.
- Compare the Labels: If you're a vinyl collector, hunt for the Casablanca 12-inch (NBD 20199)—it’s widely considered the superior audio engineering for dance floors.
- Watch the Back to Brooklyn Tribute: It provides the emotional closure for the duet that the 70s never gave us.