Diana & Marvin

Diana Ross | Format: MP3 Download

Product Details

• Original Release Date: January 9, 2001
• Release Date: January 9, 2001
• Label: Motown
• Copyright: (C) 1973 Motown Record Company L.P.
• Record Company Required Metadata: Music file contains unique purchase identifier. Learn more.
• Total Length: 47:38
• Genres:
• ASIN: B000VWJ7Y2
• Average Customer Review: 4.2 out of 5 stars  See all reviews (32 customer reviews)
• Amazon Best Sellers Rank: #96,831 Paid in MP3 Albums (See Top 100 Paid in MP3 Albums)

Customer Reviews

Most Helpful Customer Reviews

17 of 18 people found the following review helpful:

5.0 out of 5 stars An important piece of musical history restored, February 2, 2001

By 

J. W. Kooijman (Amsterdam Netherlands) - See all my reviews
(REAL NAME)   

This review is from: Diana & Marvin (Audio CD)

I've never understood why people make such a fuzz about the fact that most songs on Diana & Marvin were recorded separately. It's public knowledge that the pregnant Diana Ross did not want to share a recording booth with Marvin Gaye because he insisted on smoking weed while recording. Pop music is all about fantasy... the final product is all that counts. Many of the classic Marvin Gaye / Tammi Terrell duets were Terrell's solo recordings with Gaye's vocals being overdubbed. Many of the later duets feature Valerie Simpson instead of Terrell. More recently, Patti LaBelle met Michael McDonald for the first time AFTER their duet "On My Own" had become a huge hit. Whether recorded separately or not, the sentiment expressed on Diana & Marvin is genuine. As Marvin told David Ritz: "In spite of everything, [Diana Ross] loves me. Just listen to `Love Twins.' She actually says the words, `I love you, Marvin.' That's proof, isn't it?" That said, it is time to listen to this beautiful re-release of a very special album. Just the fact that the album features these two grand Motown artists makes it a classic. The album fits right in the career of Diana Ross, but is a side step for Marvin Gaye, as at that time he was taking creative control over his career. On this album, executive producer Hal Davis calls all the shots, yet enabling Marvin Gaye to expand on his desire to be a true POP artist. The album is clearly an experiment, as both Ross & Gaye play around with different styles. "You Are Everything" was a huge hit in Europe and rightfully so. Ross & Gaye voices really go together well on this Stylistics original. The other USA and European singles "You're a Special Part of Me," "My Mistake," and "Stop, Look, Listen" are very convincing as well, proving that the combination of Ross and Gaye did bring out the best in each other's voices. "Don't Knock My Love" continues to be a refreshing R&B classic, even though I prefer the alternate version that includes Diana Ross saying "Take it to the top, Marv." Marvin's opening vocals on "Pledging My Love" have been rightfully recognized as stunning, and this track is one of the few on which Marvin's vocals are indeed superior to those of Ross. The highlight of the album is the Ashford & Simpson penned ballad "Just Say, Just Say." The song is just beautiful, as it slowly builds up to a climax, poignantly expressing the frustration of an impossible desire for a lover that is out of ones reach. The original songs never sounded as clear and good as on this re-release. The added bonus tracks are plain fun, though, with the exception of the haunting "Alone," it is clear why they were not included on the original release. "The Things I Will Not Miss" was a daring experiment, and does grow on you in a positive way after listening to it a couple of times, but nevertheless this show tune remains an oddity. "I've Come To Love You" is another beautiful Ashford & Simpson ballad, but apparently Marvin Gaye had not finished his vocals. If he had, the song definitely should have been included on the original release - Diana Ross never sounded better on this song, and together with the velvet smooth vocals of Marvin Gaye, if he had recorded them, "I've Come To Love You" could have been a #1 smash for the two Motown legends. Harry Weinger, who is responsible for this excellent re-release, should be given a Grammy (or any other award) for making this wonderful collection of classic songs available to the general public. In my opinion, this re-release of Diana & Marvin receives rightfully 5 stars. Even though both Diana Ross and Marvin Gaye have recorded superior songs, this collection provides the listener with a unique experience - two of the greatest vocals together on a truly enjoyable number of songs. An excellent recording in the history of American pop music, an absolute must have for those who cherish the heritage of the Motown sound.

19 of 22 people found the following review helpful:

4.0 out of 5 stars 3.5 stars: A Match partly made in Heaven, January 9, 2001

By 

Eso (Oakdale) - See all my reviews

This review is from: Diana & Marvin (Audio CD)

This album was originally released in 1973 when, as the liner notes indicate, both Ross and Gaye could not have been hotter from a career standpoint. Ms. Ross' "Lady Sings the Blues" cinematic triumph took place in 1972 and also in the fall of 1973, she was still basking in the glory of her second of her second solo number 1 solo effort, "Touch Me In the Morning" and the top 5 album Chart success of the studio album of the same name. Gaye had a number one pop smash in the summer of '73 called "Let's Get it On" and the album of the same name just missed the number one position on the Pop Album chart peaking at #2. This collaboration looked to be a marriage made in heaven. Reportedly, however, Gaye enjoyed "smoking weed" while in the studio with Ross for sessions for this effort-a fact which enangered a then very-pregnant Ross. These circumstances apparently led to the stars' recording their tracks seperately. Eventually, in the US, the album peaked at #25 pop yielding two top 25 singles: "You're a Special Part of Me," produced by head honcho Berry Gordy, Jr. #12 and "My Mistake", the second single release-that going to #19 Pop. In the U.K.,the album reached #6 Pop and was prominently positioned on the chart for almost a year. Hit singles in the U.K were the albums' two Stylisitics remakes: "You are Everything", #5 Pop, and "Stop, Look, Listen to your Heart" , #25 Pop.

The original album featured too many remakes(perhaps due to the comparatively weak state of the Motown in-house writers pool in a post-Holland/Dozier/Holland era. The original songs included on the album are comparatively mediocre, given what should have been the imporatance of the project to Motown. Exceptions are the Ashford and Simpson composition "Just Say, Just Say" and "My Mistake". As far as the singing of the two legendary stars is concerned, on most tracks Marvin clearly outsings Diana, who often sounds somewhat disinterested or tired(perhaps due to her pregnancy???). She was clearly capable of stronger deliveries.

Back to the future and fast forward to the year 2001: Revamped artwork features a nice and good sized photo of Diana and Marvin that most have never seen before. Both are in a contemplative mood reclining on an elegant antique style couch. If Ms. Ross was indeed pregant when this shot was taken, the camera does a marvelous job of camouflaging her girth.

The sound quality of the digitally remastered work is excellent. Pristine clarity allows instrumental accompaniments to be heard and appreciated with greater accuracy.

Now to the three previously unreleased tracks,and one previously released but little-known effort which are what make this rerelease fascinating and well worth the purchase price: given how stingy Motown is known to be, when it comes to dispensing unreleased gems from its vaults that are most likely chalk-full of treasures, the first new track entitled "Alone" is a well-sung-especially by Ross-mid-tempo entry described in the liner notes by Brian Chin as fugue and baroque-very interesting stylistically, indeed. Ross and Gaye sound more togther on "Alone" than on most of the original cuts. "The Things I Will Not Miss" is another baroque-musically extravagant, that is-composed by the renowned writing team of Bacharach and David, who authored countless hits for Whitney's less famous cousin Dionne in the '60s. The song is from the soundtrack of an ill-fated movie-musical "Lost Horizon" and is highly theatrical. Ms. Ross appears much more at ease with this showtune than Gaye appears, and she outsings him for a change-certainly, somewhat of an oddity but an enjoyable to listen to but maybe not too frequently. The next previously unreleased cut entitled "I've Come To Love You So Much" is a classic duet penned by and produced by the excellent Ashford and Simpson. From a pure pop/soul standpoint, this cut is the best of the new batch. Ross' and Gaye's singing is beautiful, melodious and very unified. Could this have been a classic for the ages of "You're All I Need to Get By" proportions had it been released as a single? "I'll Keep My Light in My Window" was recorded five to six years after the other tracks circa 1978 or 1979 to be part of a tribute album honoring Berry Gordy Jr.'s deceased father. It is a pleasant enough quasi-inspirational tune again featuring unified singing by the duet partners that exhibits an older Ross voice sounging exquisitely clear and barely nasal.

3 of 3 people found the following review helpful:

3.0 out of 5 stars THE KING AND QUEEN OF MOTOWN, April 8, 2001

By 

[e-mail] (BOLTON, LANCASHIRE, ENGLAND) - See all my reviews

This review is from: Diana & Marvin (Audio CD)

Diana And Marvin is overly a very good album especialy given to the added bonus of the three previously unreleased tracks added on. Both Diana Ross and Marvin Gaye were enjoying triumphant success around then. Diana Ross had just made her dynamic acting debut in the oscar nominated, Lady Sings The Blues and had also had enjoyed enormous success with the classic Touch Me In The Morning album where as marvin Gaye was beginning to really show his versatality as an artist with his critically acclaimed Whats Going On album.

Allegedly it was reported in J.Randy Taroberrellis startling and highly controversial biography about Diana Ross (Call Her Miss Ross - 1989) that the duo did not get on at all and on many ocasions recorded their vocals seperatley. Diana had been wound up about Marvin smoking pot when in recording sessions as she was pregnant at the time. Marvin had apparently felt a lot of bitterness towards Diana as well as he felt his career was put on the side line by Motown boss, Berry Gordy in favour of Dianas. He'd also vowed that after the sad death of Tammii Terrell in 1970 he would never work as a duo again but Berry Gordy had insisted upon it!

Despite these inevitable problems that occur when you get two major stars together, the chemistry and affection that they surley must have felt for each other deep down shines out on the unforgetable, timeless soul classic, You Are Everything. This is by far their greatest recording together and it still sounds breathtakingly beautiful. Both Diana and Marvins delivery is heartfelt and strong on most of the tracks. Love Twins is a fine, mid tempo number that is don beautifully whilst more compelling and exciting is the funky and swinging Don't Knock My Love. It is great to hear them do an uptempo number together and the album is sometimes in need of it. You're A Special Part Of Me is another wonderful ballard that became a major hit in the U.S. whilst Pledging My Love is pleasant enough if not a little too slushy. Just say,Just say is a mediocre number at the most and is rather forgetable but Stop! Look! Listen, To Your Heart isone of the albums real highlights. Again its a slow, laid back ballards but the orchestra and Diana and Marvins soulful vocals blend beautifully together. Falling In Love With You sounds very insincere and both performances sound half hearted. However another highlight of the album is the soulful My Mistake Was To Love You which is another timeless recording. Include Me In Your Life is quite catchy too and the unreleased tracks mainly fall short of the rest of the albums quality but their inclusion on to this is welcomed.

Over all a recommended album that is possibly in need of a few more up tempo numbers as the abums verges on the lines of being too slushy at times but regardless of that it is still great to hear two of the twentieth centurys most talented peformers together.