Customer Reviews

Diana (Deluxe Edition)

5 star:		(56)
4 star:		(8)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Some would argue that Diana Ross' 1980 "diana" is really a Chic album with Ross singing lead vocals. Bernard Edwards and Nile Rodgers of the influential 1970s group serve as producers, and the result is a non-stop party filled with groovilicious tunes that are just as stellar as anything by Chic. "diana" was a huge commercial hit upon release, and for a good reason: the album is excellent and may be the best of Diana's post-Supremes career. Who could forget the hit singles "Upside Down" and the uplifting "I'm Coming Out?" If any female singer kicked off the 1980s with a bang, it's definitely Ms. Ross, thanks to this classic of an album. "diana" has been remastered and is part of Universal's "Deluxe Edition" series. The first disc has not one but two versions of the album. One is the "diana" as released, and another is the "Chic Mix." I definitely prefer the latter version as it is more relaxed, free-flowing, and is somewhat less polished than the "diana" that was released in stores. I'm glad that we finally have the chance to hear this classic "as nature intended." In addition, a bonus disc of extended mixes and other jams is what makes this CD a must-own for Dianaphiles and casual listeners. We get, among others, a full-length 10 minute version of the classic "Love Hangover," a standout mix of the excellent "No One Gets the Prize/The Boss" and other previously unreleased tracks like "Fire Don't Burn," and "You Build Me Up to Tear Me Down." Sure, there's a single disc version of "diana" available, and like the deluxe edition, it's digitally remastered. But you're only selling yourself short by getting that version. The deluxe edition is a can't fail purchase; it's an example of what happens when you take a classic album and make it even better.

Although the 1980 release of "diana" was remastered in 1999 and sounded like a million bucks, I was unaware of the whole production controversy as I always thought that said release had been produced by Chic producers Bernard Edwards and Nile Rodgers. Through the extensive liner notes and reviews by other Amazon.com reviewers I now understand that the producers' work was handed to a seasoned Motown veteran named Russ Terrana who cut down on the Chic touches and made it more mainstream (whatever that is). Having said that, a side to side comparison is almost a draw as there are merits to both; notwithstanding, I my clear preference goes to the original Chic-produced songs as it does not push Diana back into the mix a some suggest, but rather it has her sounding more relaxed and free-flowing than ever. The Chic touch does not make it a "Chic" release, fronted by Diana Ross, as it's a collaboration just like any other. No one ever says that "The Boss" release is as an "Ashford & Simpson" release fronted by Diana Ross, but their influence is in the mix.

Competing versions aside, the back to back releases of "The Boss" and "diana" are in my opinion on top of the list for Diana's best solo work. A case can be made for either but "diana" wins on its strong singles, newly released original versions, and non-singles that get more infectous every time that you hear them. I've become absolutely hooked "Have Fun (Again)," as the arragements/choruses are addictive. Also, the really cool sounds integrated into "Friend To Friend" have brought that song an underlying funkiness to its already great version. And there is a tropical touch added to "My Old Piano" that sends the song to a place that it never reached. This 2003 remastered 2 CD collection is broken down as follows:

Disc 1 includes the retouched/released song set and it is followed by the original/previously unreleased song set. So whatever your preference it's a win/win. Disc 2, titled "Dance" is a hodgepodge of remixes, unreleased songs, extended versions, and a even a Supremes medley that for the most part are not "essential" BUT is a must if, like me, you love the song "Love Hangover", as the extended alternative 10 minute mix is the best version that I've ever heard of that song. Remixes are a hit/miss (generally miss) as they are either an extended version that does not have any value added or re-workings, which generally push the singer to the back with whatever sound is club-worthy at any given moment. Some of these songs never end. This second CD is also a must have for me as it has an amazing version that seamlessly combines "No One Gets The Price/The Boss" into something that is greater than the sum of its already great parts. There a couple of songs that I had not heard off which also registered quite nicely.

Like most things, all is not perfect even in this release. The aforementioned Supremes medley is truly awful and there are about 5 others in the 2nd CD that are filler. Although this release easily earns its 5 stars simply for its 1st CD as it's rather brave for a record company to risk alienating those hard-core fans who probably bought the: original LP, first-released CD, the 1999 remastered CD, and now have this to consider. If enough people wind up championing the original Chic versions, there may be an uprising of sorts. But then what do I know. One huge issue that I have with the "Deluxe Edition Releases" is their high price. In almost no case do two CDs warrant such a high listing price (up to $29.99 in most stores) and it seems like this pricing will be a trend as many releases are getting the "Deluxe Edition" treatment. The worst example is one of my favorites, which is "Grease", as the "Deluxe Edition" is the only remastered version to be released since the original analogue and although it sounds better than ever, the second CD has several "sing-a-long versions" that are simply due to lacking material, also retailing for up to $29.99.

Notwithstanding pricing issues, "diana" is one THE great releases and listening to the Chic original versions, I can't believe that I had not before put this release among my all-time favorites. Well that has been remedied!

I've bought this set not because I'm such a great admirer of La Ross (I like a song or two and love her The Boss-lp), but much more for my undying appreciation of the classic 70's productions by Edwards & Rogers from CHIC. By the time they cut this album in 1979, it was widely known that once you got involved with the CHIC duo you got them all the way: as songwriters,arrangers and producers. Every album they recorded in the late 70's were as much albums by themselves as by the vocalist they were actually recording with. Not that it mattered, for the final results were overall stunning, polishing their trademark style to perfection. I still remember, upon hearing the original vinyl album in 1980, how less CHIC it actually sounded. the songs were fine, but the production sounded very flat ,if not uninspired to me. Later we learned that the released album-mix wasn't done by Edwards & Rodgers, but redone by in-house Motown engineer Russ Terrana. With the release of this Deluxe edition, we finally get to hear the album as it was originally intended. And what a brilliant experience this is; anyone with ears can hear how much effort Edwards & Rogers put in the arrangements alas not audible in the originally released version . As we learn from the extensive liner notes, Nile Rodgers was devastated on hearing the final mix released by Motown. We only can feel sympathy for his feelings; a great artistic achievement destroyed. But as history proved the album sold like hot cakes anyway. So let's just be greatfull that we finally get access to this trove from the Motown vaults. And as the icing on the cake we get a second disc with much more classic dance-stuff; the disconet-version of 'Love Hangover', the discofied Supremes medley, 12 inch versions of 'The Boss','What you gave me' and much, much more. In case you haven't noticed; for all you old-school disco lovers; this one's essential !!!

No one would dispute that the original release Diana Ross' 1980 solo release "Diana" is perhaps the most seminal of her career. From a standpoint of musicality and creativity to this day in its entirety it remains of the most polished and sophisticated listens within Diana Ross' vast catalogue. Diana Ross sought to make a statement with "Diana", and that she did.

The set would catapult Diana Ross into even greater superstar status thus marking her ability to command a twenty million dollar record contract with RCA Records. The release of "Diana" ushered in a new era for Diana Ross as a creative entity as well as superstar. With "Diana", she was able to reposition herself seamlessly as an icon in one decade to the next. The production on "Diana" lent Diana a new, fresh and progressive style unheard of at time when as the '80s began new trends for American music had yet to take shape. The Chic Organization was able to bridge the gap between the decades by inventing a grittier R & B inflected brand of Dance music that would inevitably please purists from both genres alike.

As her last album under contract to Motown during her first tenure, Ross went out with a bang and it is fantastic that Motown has reissued the set. It was widely held that Ross was not as enthused with the previously unreleased original Chic mixes of the songs because her voice was not forward enough. The release of "Diana" juxtaposes the original previously unreleased Chic mixes of all the songs on "Diana" with the previously released Russ Terrana/Motown edit of the album. It is a fascinating listen availing Ross fans of the opportunity to compare and contrast the mixes of these songs. No matter how one slices it, Ross' contribution to the set is amazing, and the music is sophisticated and polished throughout.

It is evident Ross is experimenting vocally during the sessions as reflected by the difference between the original version of "I'm Coming Out" versus the previously unreleased Chic original edit. Her vocal inflections and delivery seem more soulful and gritty in the original Chic edit. She is also more restrained in the original Chic edit however such an emphatic and dramatic pronouncement as "I'm Coming Out" is better served by the Russ Terrana/Motown edit. In the previously unreleased original Chic mix of "My Old Piano", her voice is also more forward and her more soulful vocal inflections resound.

In an odd twist, in the originally intended Chic mix of "Upside Down", her voice is more forward. It is clearer and on some level after about two minutes in Ross is rawer than in the Terrana edit. "Have Fun Again" is quite different in the Chic edit and certain instrumentation is more forward. Unfortunately, that ad-lib Diana does at the beginning of "Now That You're Gone" seems not to have been part of the original Chic edit. Also, the springing noise that added to the song's exotic flair seems non-existent in the original Chic edit. The song also ends abruptly. "Tenderness" has to be the highlight of the unreleased Chic edits. About three minutes and forty-five seconds into it, that Chic stamp adds a lot to the original. This mix is better than the original.

"Diana: Deluxe" also boasts 12" versions of some of her hits as well as alternate takes including an alternate take of "We Can Never Light That Old Flame Again, a Holland Dozier Holland song vaguely reminiscent of the latter day disco done by the latter-day incarnation of the Supremes which was released in 1982 to capitalize on her RCA success but to no avail, "Sweet Summertime Livin'", a free form Jazz number that puts a new twist on the music of an era gone by circa 1940 which was produced by Hal Davis who produced "Love Hangover" and fellow-Supreme Mary Wilson' Motown solo debut and "Fire Don't Burn" a number originally intended for Thelma Houston. Also featured among the twelve-inch rarities is the "Diana Ross and The Supremes Medley of Hits" which was the first one of its kind to take snippets of an act's hits and string them together to ta dance beat. It would later inspire the "Stars on 45" single. Initially it was played in clubs and garnered some airplay but was never released as a single.

Also, there are new revelations in the liner notes.Rick James was slated to produce cuts for Ross but James wanted to produce a full album and Motown honcho Berry Gordy was not sanctinoning this so a number written by James with which we are familiar entitled "I'm a Sucker for Your Love" would later go to Teena Marie as would select other cuts intended for Ross but given to Marie.

I would've given the original remastered cd of this album 4 stars; this version gets 5 and here's why...
This album featuring a revitalized Diana Ross, abley assisted by the Chic Organisation (aka Nile Rodgers/Bernard Edwards) is a seminal, hard hitting dance/funk classic. It's a genuine crossover album drawing on tasty underground club rhetoric from the late 70's and still managing to hit the charts right between the eyes. It has no less than 3 A grade singles - 'I'm comin out', 'My old piano' and the extraordinary 'Upside Down', as well as 5 other steller support tracks - all very listenable.
This release is notable for containing the original CHIC mix of the album - submitted to Motown as the final master before the record company decided to whisk it away to LA for a remix.
The remix was extensive - it shortened tracks, rearranged structures of songs and opted for different vocal takes. I'm fairly cynical about director's cuts/alt mixes and so on, but I have to say, the inclusion of 2 mixes on this album is very, very interesting indeed, particularly if you are a fan of CHIC's earlier, darker dance tunes and their production work.
So which mix is better?

Unlike other reviewers here I'd rather make that assessment track by track although I do agree that on the whole, it's probably a draw. It's certainly very close!

Let's take it apart:

UPSIDE DOWN - One of the most obvious differences on the LP, the Motown remix is easily my favourite because it goes for the jugular. It's a ballsy mix with Diana close miked and hissing and purring out the lyrics - the original mix has her dampened by reverb losing some of the excitement and crispness. The bass is higher in the CHIC mix (as you would expect) but I prefer the official releases razor sharb snare drums, cymbals and snappy bass.

TENDERNESS - Motown mix opts for a staggered introduction of instruments and riffs to create interest but I prefer the very typical CHIC treatment with the amped up bass and the hook that just keeps turning over.

FRIEND TO FRIEND - The CHIC mix is a revelation! Full of late nineties style guitar harmonics and effects, Diana's vocal becomes part of the musical landscape and the song is doubly improved. I never quite got the song on it's first release - the CHIC version has revealed it to be atmospheric, spiritual and very classy. Far superior to the released version.

I'M COMING OUT - Very different mixes but both have their advantages. On the whole the CHIC mix is a slow builder while Motown is crisp and commercially savvy. Perhaps more club-ready. But I like the cool, held back quality of the CHIC mix. 50/50 on this one.

HAVE FUN (AGAIN) - The CHIC mix is a blast. I think they just loved this track and Motown didn't get it. This is REALLY a CHIC track with Diana simply providing the classiest CHIC vocal you'll ever hear. The CHIC mix is full of another minute of riffing and dynamics that paints this picture the way is should be - as a groove assault. Forget the original mix.

MY OLD PIANO - These mixes are the opposite of the 'Upside Down' treatment! Motown's Diana sitting back in the mix atmospherily with reverb, CHIC's is more close miked. I think the Motown mix has more impact - it deletes a lot of rambling piano/guitar interplay which although fun, lessens the overall power of the tune. The dynamics and effects are much more urgent in the Motown version and this for me, is the guts of the groove. CHIC muddied their mix a little here.

NOW THAT YOU'RE GONE - The weakest track on the album. The CHIC mix wins here because the MOTOWN mix introduces tasteless, overstated breathing noises to try and add interest to this tune. It's understated and nice on the CHIC version without setting the world on fire.

GIVE UP - Subtle but I prefer the CHIC mix's gutsier attack on the guitar and bass. Once again an attempt to bring Diana to the front doesn't necessarily make for a better track - either mix is pretty damn enjoyable though.

In short If you want the 5 star mix, you'll have to cut and paste your own version but you'll definitely enjoy aspects of Nile and Bernard's original.

Terrific liner notes on this edition although NOT DETAILED ENOUGH (hence this review). Very funny story about Diana Ross not registering the gay reference in "I'm coming out". Good on CHIC for getting that one over the line.

The Second Disc in this collection is a compile of late 70's pseudo hits and misses by Diana that is far from essential but fun for the very occassional spin.

The attractively packaged diana Deluxe Edition is one of, if not THE most, definitive entry in Soul diva Diana Ross' seemingly gigantic back catologue of albums. Released in the summer of 2003, the diana Deluxe Edition also, for the very first time, showcases the original sessions intended for the album, remixed by those two renowned R&B/Disco wizards, Nile Rodgers and Bernard Edwards.

Following on from the critically-acclaimed, The Boss (1979) album, Diana Ross turned to two of the hottest R&B producers of the day - Nile Rogers and Bernard Edwards for her next highly anticipated project. She wanted to bring her sound up to date and reach a younger generation as she had done with The Boss. The album proved an explosive combination but wasn't without its fair share of troubles behind the scenes......

After hearing the final mix of the album, Diana simply wasn't happy. She felt that her vocals had been pushed too far into the background with the emphasis being on the music rather than the voice. She took the finished results and with the assistance of Russ Terenna, completly remixed the entire album herself, pushing her vocals foward and basically as she quoted "put a little of Diana Ross into the project". Learning of Dianas new re-mixed album, Rogers and Edwards were infuriated that their work had been tampered with. They demanded a public disclaimer but it was too late - diana was out on the streets already and was selling wildly fast. At first they considered taking legal action but then learning how much Diana Ross loved the project and how she had still paid them ample credit on the album, they decided to let it go.

Nile and Bernard considered the Have Fun (Again) to be the albums debut release but instead Motown opted for Upside Down. Diana had apparently asked for a song her children could sing along to and thats exactly what she got with Upside Down! It almost sounds like a nursery rhyme set to hot, compelling Disco/Funk music but was just so undeniably infectious. Her sassy, razor sharp performance is vastly infectious, neatly riding along the divine musical arrrangements. Upside Down rapidly hit the top of the U.S charts whilst hitting No.2 on the U.K charts. An out and out classic!

The albums second release would be the even stronger, I'm Coming Out. The song would be something of a declaration of her newly found independence (and she was also preparing too leave Motown Records). I'm Coming Out also became something of a gay anthem and supported her confirmed status even greater as an icon amongst gay males. This recording captures one of her strongest performances on record, sounding so crystal clear and strong. That fabulous opening is just sensational from the rolling drum beats that leads into the roller coaster musical arrangements. I'm Coming Out became a rapid Top 5 seller in the U.S and hit No.13 on the U.K Singles charts.

In Britain Motown issued a third single with the monster classic, My Old Piano. This exotic sounding number is complimented by a firm and exuberant performance from Diana who whips along the verses and chrous with such conviction. My Old Piano too would become a Top 5 seller in the U.K.

Belatedly released in 1982 was Tenderness (by which time she was at RCA Records enjoying success with her secong Gold selling album for the label, Silk Electric). This rhythmically divine number is just utterly superb but unfortuantley stalled at No.73, probably as there was little promotion for the single.

The album cuts are all top notch. The aching Friend To Friend is remarkably effective in its mere simplicity with Diana delivering a deep throasted, fittingly husky performance. Her precise pronounciations and diction is what makes her such an excellent vocalist and the real beauty and natural soul in her voice simmer out on numbers like Friend To Friend. Incidentally Friend To Friend was considered for being the title of the diana album.

Have Fun (Again) is totally infectious where Diana certainly sounds like shes having fun as she delivers another sassy and sharp performance. The track fades out at the bridge of the song only to come back in again for Diana to once again sing the chrous. Curiousl as to why this was done but it certainly doesn't interupt the musical flow.

The beautiful, sparse production of the haunting ballad Now That You're Gone is delivered with a real gutsy, shimmering performance from its star that merely compliments the atmospheric arrangements.

The riotously funky Give Up stands up as the one of the very best of the album tracks. Diana just lets her hair down on this number and truly belts this out with all her mighty heart and soul. This captures one of Diana's strongest performance on records!

The diana project became a landmark in her career when released in 1980.It is her biggest solo album to date. Red hot, sassy, riotously funky packed with roller-coaster musical arrangements, this quite possibly is her best studio album yet.

The original seesions of the diana album, as remixed by Nile Rodgers and Bernard Edwards, were less polished and improvised with Diana delivering much more relaxed intepretations. These sessions emerge surprsingly as nearly just as enjoyable. Even if they had made their way out on to the final cut of the album they undoubtedly would have enjoyed just as much blockbuster success as the versions we all love and know today.

Also included on the diana Deluxe Edition is another disc devoted to her solo period at Motown between 1976-1979 before diana had exploded into record stores in 1980. I'd love to have seen (being something of an admitedly fanatical Diana Ross fan) some other tracks added on to this disc which deserve a mention here: You're Good My Child, One Love In A Lifetime, Ain't Nothing But A Maybe (all of which appear on the excellent, critically acclaimed, cross-Atlantic Top 5 smash hit album, Diana Ross (1976) ), Gettin' Ready For Love, You Got It, All Night Lover (all featured on another fabulous La Ross studio album, Baby It's Me (1977), Once In The Morning and It's My House (both of which can be found on one of her all-time greatest recording triumphs, The Boss (1979) ). However the tracks that do pop up on disc 2 are certainly nothing to complain about and hosts some great rarities that will please the keen fan of Diana Ross.

The extended alternate version of Love Hangover surprisingly manages to surpass even the dynamic original, which had topped both the Pop and R&B charts in mid 1976 and had revitalised Dianas then somewhat flagging recording career. Black music was steering in different directions and at that time, Dianas recording career had, in some aspects, lost course. That all changed when this innovative, compelling R&B/Disco/Soul classic, that was way ahead of its time, was released and saw Diana gain a whole new generation of fans. Dianas rich and spontaneous performance is thrilling and the alternate version features her complete vocal performance (a lot of which was edited out on the trimmed down commercial release of the single). The slow, sultry throb and Dianas sensual performance at the beginning of the track makes way for an effective shift in direction tempo-wise where it catapults half way through into jamming R&B/Disco music with Diana letting rip with a purely improvised performance. Never had she sounded so adventurous on record before. This alternate version, that clocks in at over ten minutes long is fantastically funky and extremely infectious! A worthwhile inclusion on this disc as it had previoulsy been unreleased commercially.

The red hot Funk-Disco sounds of Your Love Is So Good For Me, which was produced by Richard Perry, is featured on this disc in its original 12 inch version. Your Love Is So Good For Me, which captures a strong, red blooded performance from Diana in definitive disco diva mode, had been released as a single from Baby It's Me (1977) in February 1978. Whilst Your Love Is So Good For Me only got as far as just a disappointing No.49 on the main U.S Pop Charts, it bounced up to No.15 on the Disco Club Play Listings whilst the 12 inch version featured here climbed its way to No.30 on the Disco Club Play listings.

Top Of The World was a vibrant, upbeat, totally feel-good number with Diana delivering an angelic, rather Supremes-like performance. Top Of The World, written by Tom Snow, is a stellar recording that was again taken from the Baby It's Me album of 1977. It was co-listed with Your Love Is So Good For Me which had made its way onto the Disco Club Play listings. It had also been lifted as a single in Britain but surprisingly it flopped.

The startling Lovin' Livin And Givin' was a hypnotic, trancey, spiralling Disco number. Diana breathed fire and soul into this adventurous offering with her unusually earthy delivery. Lovin' Livin And Givin first appeared on the rather hodge-podge production of her 1978 studio album, Ross. It jumped straight up to No.35 on the Disco Club Play listings. In the U.K Lovin' Livin And Givin' stalled at a disappointing No.54 on the Pop charts, most likely down to some questionably poor promotion for the single. An alternate mix of Lovin' Livin' And Givin', which can be found on Diana Ross - The Motown Anthology (2001) was used as part of the soundtrack to the movie, Thank God It's Friday, which starred disco legend, Donna Summer.

The bouncy What You Gave Me lacks the dynamics of Lovin' Livin' And Givin' (which it was co-listed with) though is engaging enough. Written by two of Diana Ross' best collaborators, Nicholas Ashford and Valerie Simpson, What You Gave Me is featured here in its full, sparkling 12 inch version. The edited single release failed to make even a mere blip on the U.S Hot 100.

You Were The One, written by Greg Wright, was another slick, polished R&B/Disco number that had also been used as part of the track line up for the Ross (1978) album. More laid back than the other Disco outings on here but it still works well in its own way when judged on its own merits.

The fun Diana Ross And The Supremes Medley Of Hits contains some of Diana Ross' all-time greatest classics in one long mega mix. The songs included in abbreviated medley form are Stop! In The Name Of Love (U.S No.1), Back In My Arms Again (U.S No.1), Come See About Me (U.S No.1), Love Is Like An Itching In My Heart (U.S No.9), Where Did Our Love Go (U.S No.1) and Baby Love (U.S No.1). These are just a small handful of some of the most terrific and outstanding Pop/Soul songs ever made and were all written and produced by those masterminds of Motown, Brian Holland, Lamont Dozier and Eddie Holland, known simply as Holland-Dozier-Holland or H-D-H. This utterly genius trio assisted in helping create and define what was commonly referred to in the 1960's as The Motown Sound - the sound of young America. H-D-H were also instrumental in helping develop a focus, sound and identity for Diana Ross And The Supremes by writing and producing for them some of the most remarkable recordings in the history of Pop and Soul music. In this stomping medley of Supremes hits, a Disco beat is added to give the songs more of a contemporary setting though when listening to this today it does inevitably sound very dated. However it remains a guaranteed dance floor filler.

The rip-roaring 12 inch re-edit combining No One Gets The Prize and The Boss together is a real treasure. No One Gets The Prize had literally blasted on to the Disco scene becoming an instant club hit. Never before had Diana Ross sounded so pure and soulful. Her soft, silky voice brims with total self-assurance, cutting through the hard-driving, pounding musical arrangements. No One Gets The prize is an out and out Disco/R&B classic despite surprisingly never becoming a major chart hit on the mainstream charts.

Anyone who has any qualms about Diana Ross not being a soulful singer or not sounding black enough (what is that supposed to mean anyway?) will eat humble pie on just one listen of her impressively strong, acrobatic performance on the raging Disco masterpiece, The Boss. She begins the song in a breathy, seamless sound and then effectively alters vocal pitch as the second verse builds to the chrous. Diana smartly moves along the sharp grooves and pumping, pulsating rhythms. The Boss, like No One Gets The Prize, enjoyed mammoth club success though disappointingly only reached No.19 on the U.S Hot 100, despite being one of her all-time classics. It actually went all the way to No.1 on the Disco Club Play listings (as did The Boss album of 1979).

Diana the dynamic disco diva gets on down into boogie Wonderland again on the Funk-ridden, sexually charged, I Ain't Been Licked. Her primal vocal delivery shifts direction as she begins the song sounding a little vulnreable but then rises with the exalting musical arrangements to shining self-assurance. Her voice is charged with fire and pure soul on I Ain't Been Licked, dripping with real gutsy emotion. Its incredibly hard to believe this never became an actual hit.

Fire Don't Burn saw Diana reunited with the famous Holland brothers, Brian and Eddie who had, along with Lamont Dozier, written and produced the majority of chart-toppers Diana Ross enjoyed in the 1960's as lead singer of The Supremes, who remain the worlds biggest female vocal group of all time. Sadly they seemed to have been past their artistic prime when they came up with this late 70's Disco number. Fire Don't Burn is certainly very catchy and grows on you after a few listens but this blatant attempt at updating and contemporising her style and sound with The Supremes makes it nothing more than just pleasant filler material, especially as Diana was wanting to progress as a solo artist rather than re-hash a sound she had almost ten years before.

We Can Never Light That Old Flame Again was a more enjoyable collaboration with Brian and Eddie Holland as well as a contribution from Mack David. originally intended for the Ross (1978) album, it was eventually issued as single years later in July of 1982. Rather surprisingly it sank without trace! Even so, We Can Never Light That Old Flame Again is another rhythmically exciting Disco number that has a lot of spark and a tremendous vocal performance from Diana.

You Build Me Up To Tear Me Down was yet another collaboration with Brian and Eddie Holland along with Ron Miller. It's a slow, soft-Funk number that is again pretty standard, routine material though is engaging enough. This was also another recording to have found itself edged out and canned from the Ross (1978) album.

Finally disc 2 draws to a close with the super-funky, Sweet Summertime Lovon' which captures an amazing performance from La Ross who races along the frantic orchestrations to maximum effect, oozing soul. Produced by Hal Davis, Sweet Summertime Lovin' was originally mixed for inclusion on the Ross (1978) album and then was remixed again in 1981 for inclusion on the cancelled Diana Ross album, Revelations. A thoroughly fantastic track that fittingly ends a thoroughly fantastic album.

The diana Deluxe Edition is a double album that you will literally want to play over and over and over again. Instantly memroable, highly contagious, burning with passion and energy with superbly crafted and complex musical arrangements and sassy, streetwise and soulful performances from the divine Diana Ross. diana Deluxe Edition is an essential and definitive Diana Ross album that any lover of urban Soul/R&B/Disco music will lap up!

Ian Phillips

July 2006

HIGHLIGHTS: That phenomenal Chic mix!! The best and creamiest cut here is "Tenderness". At about 3:36 into the song, it slams into an extended 'Chic' instrumental segment, reminiscent of "I Want Your Love". This long version just sent me through the roof!

THE MAIN DIFFERENCES BETWEEN THE 2 MIXES: The Chic mixes use mostly different vocals from Diana, but they are NOT pushed "back" farther in the mix, as has long been rumoured. They are simply way more artsy. Diana really does her most free-form vocals here...very jazzy. Not as slick as the released mixes. Terrana picked better vocals for "I'm Coming Out" to work with for his mix, and it is hard to see how Nile and Bernard missed making that climactic ending: "I'm coming OOUUUTT!" Interestingly, Diana's vocals on the Chic mix sound like they are the ones that were used for the Maurice Joshua 1994 remix on "Diana Extended", just as Frankie Knuckles used the alternate "Love Hangover" vocals for his remix of that classic on that remix set.

DISC 2!!! Here, for the first time in UN-bootlegged glory is the 10-minute+ alternate mix of "Love Hangover", which Bobby DJ used on his massive 18-minute Diana medley for Disconet in '79. If you haven't heard those background singers break it down with "I don't want-want-want no cure-cure-cure for this/Love Hangover!!", then you are in for a real treat!

THE VAULT TRACKS: They are wonderful! They should have all wound up on the Ross lp from '78, but none are quite as good as "We Can Never Light That Old Flame Again", a true shoulda-been-a smash, featured here in a fab alternate mix!

THAT SUPREMES MEDLEY: For me, this is the only lame point on this entire 2-cd set! First of all, it was already put on CD on "Motown Superstar Series, Volume 1" in 1992. There are still copies out there, people. Motown did not need to waste 10 minutes with this. FURTHERMORE, the DMC 2000 Supremes Megamix by Jewell & Garcia is VASTLY superior, an absolutely smokin', contemporary remix. (For you diehards out there, it is worth trying to find!)

I would have MUCH rather preferred to have the 12" remix of "Ease On Down The Road" (with Michael Jackson) on Disc 2 instead of that annoying Supremes medley, as this has yet to appear on CD.

5 STARS BABY!

Diana, I love you!

When this project was first released back in June of 1980 it was by far the most daring and at the same time most interesting project for the artist we know and love as Diana Ross. Her highly acclaimed reunion with Ashford and Simpson on her 1979 effort "The Boss" proved to be the perfect catalyst for this record. Sometimes the talent of Diana Ross is attributed to just her persona and many forget that she is an incredible singer who possesses a very keen musical acumen. The thing about the 'original mix" of the "diana" project is that we get a chance to hear yet a different side of her. The lead vocals heard on about half of the tracks of this mix are markedly different from what we have etched in our minds. They are much more aggressive and soulfully expressive. Especially, "I'm Coming Out", "Have Fun (Again)" and "My Old Piano". The second CD entitled "Diana: Dance" provides just as many new thrills. Just give a listen to the extended mix of "I Ain't Been LIcked". The display of soulfulness on this mix is reminiscent of her vocal performance on the extended mix of "The Boss". "Fire Don't Burn" and "Sweet Summertime Lovin" are also solid unearthed gems. And the mix of "We Can Never Light That Old Flame Again" is a lot cleaner that most of the mixes previously released.

There is alot to embrace with the release of this 2-disc set. Hopefully, for those of us who still buy CD's and rejoice in reading liner notes, producer comments and hearing alternate mixes and vocals of artist that we like will compel Motown to release product on other artists who have recorded for the label. How about some Tata Vega, Syreeta, The Dynamic Superiors and Valerie Simpson. Well enough about my dreams of working as a compilation researcher at my favorite record company. Please enjoy Diana: Deluxe Edition. You will have to hit the repeat button on more than a couple of this tracks.

5 stars aren't nearly enough for this 2-CD masterpiece, but alas. Fans of the UberDiva know the backstory of how the Rodgers/Edwards-Chic product was remixed by Ross and Motown to bring her vocals more upfront. That was a smart move, however the original Chic mix is very, VERY GOOD. Of particular (and obvious) note are Ross' deliveries on I'm Coming Out, Have Fun, Upside Down and most glaringly on Friend to Friend. Chic wouldn't let Madame see the lyric sheet until they were set to record (in a dark room w/only 1 light, reportedly..so essentially, Ross is actually doing a "live" unrehearsed, first reading of all the tracks during the recording. Buy this album alone for that. Disc 2 is a splendid collection of dance tunes that demonstrate the Diva's fondess and fan appeal of "clubbin music". The much loved 10 min Supremes medley is here and a astoundingly fresh alternate version of Love Hangover. Now, if Motown will only do a deluxe edition of the Touch Me In The Morning lp...most of SuperDiva's fans (like me) can finally retire to Boca...

Just as "Thriller" became the ultimate Michael Jackson album, the 1980 "Diana" album evolved as THE quintessential Diana Ross album. It also became the album that subsequent releases from the diva would be compared to.

I remember the occasion just like it was yesterday. It was the summer of 1980 and I was 10 years old (now I AM showing my age!). "Upside Down" could be heard virtually everywhere - and it was a song that was blasted from radios and stereos. It was the coolest record I'd heard and I was hooked. Even now, this slice of Ross/Chic perfection sounds fresh, youthful and vibrant.

If we go back to 1980, we know that Ms Ross was already a superstar in her own right. Some have written that she needed to bring her `flagging' career up to date. It's true - she'd been absent from the Billboard pop top ten charts for a few years. However, it's worth remembering that "The Boss" album certified the year before.

It was left for Diana to team up with the hottest R&B producers of the day - Bernard Edwards and Nile Rogers. "I'm Coming Out" was a born out of conversations Diana had with Edwards and Rogers. It became Diana's personal declaration of desire and independence. Her vocal performance here was inspired, vivid and spot on. All those who harp on about Diana's lack of vocal prowess need to listen to both versions this track - and shut their mouths!

It was a few years later that I discovered that the released version of "Diana" was not the original Chic mix. Like many fans, my curiosity bubbled for years.. Here's my take on which tracks are better - released version or Chic version:

UPSIDE DOWN - Released mix
TENDERNESS - Chic mix
FRIEND TO FRIEND - Released mix
I'M COMING OUT - Released mix
HAVE FUN - Chic mix
MY OLD PIANO - Released mix
NOW THAT YOU'RE GONE - Can't decide!
GIVE UP - Chic mix - what a gusty vocal performance!

Were Motown right to tamper with Bernard and Nile's handy work? That's not for me to say. They took all the elements of the original and produced a `radio-friendly' album. The main differences with the remix are that the overall production is smoother, slicker and more sophisticated - just what you'd expect from such a crucial Ross release. With the remix, you can virtually hear each instrument, and Diana's evocative soprano is the icing on the cake. The Chic mix, however, showcases a raw, spontaneous energy and Diana had never sounded more stronger vocally. To me, it has an arty clubhouse feel to it, and I can see why Motown opted to play it safe.

Both versions make for fascinating listening - I found myself constantly flipping between the two versions!

As for the "Diana: Dance CD", it contains some truly RARE tracks that will delight any Ross fan, especially:

YOUR LOVE IS SO GOOD FOR ME - 12-inch version
TOP OF THE WORLD
WHAT YOU GAVE ME - get those flares out and boogie!
YOU WERE THE ONE - hey, someone at Motown ought to re-release this funky little ditty - it's awesome!

I think that this DELUXE edition is an essential purchase for Diana's fans - past and present. This gatefold, double CD is lavishly packaged, with candid essays from Nile Rogers, Russ Terrana (re-mixer) and Brian Chin. And of course, Diana looks breathtaking beautiful both on the front cover, and the glorious colour centrefold spread.

"DIANA" - that perennial classic - just got better!