Diana Ross

Diana Ross | Format: Audio CD

Product Details

• Audio CD (March 30, 2011)
• Number of Discs: 1
• Label: Motown
• ASIN: B000063BOJ
• In-Print Editions: MP3 Download
• Average Customer Review: 4.8 out of 5 stars  See all reviews (38 customer reviews)
• Amazon Best Sellers Rank: #12,236 in Music (See Top 100 in Music)
  • #69 in Music > R&B > Classic R&B

Editorial Reviews

Amazon.com

The only surprise in Diana Ross forging a solo career outside the Supremes is how long she waited to do it. Her 1970 debut shrewdly capitalized on her former band's spectacular string of successes at the same time that it carved out a niche for Ross as one of modern pop's most formidable divas. That not inconsiderable task of reinvention fell to the songwriting/production team of Ashford & Simpson, who constructed a musical framework that traded freely on the sheer dynamics and dramatic potential of Ross's voice on tracks like "Reach Out and Touch Somebody's Hand" and the massive No. 1 hit "Ain't No Mountain High Enough." Loose, light, and occasionally neo-spiritual, it's an album that's almost daringly free of Motown history and clichés, right down to its cover imagery. This digitally remastered edition features a wealth of bonus tracks that include four from the album's first (aborted) sessions with producer Bones Howe--including Laura Nyro's "Stoney End," a hit for Streisand shortly thereafter--that give an intriguing glimpse of the somewhat jazzier and even more pop-oriented album that might have been. Also included are alternate mixes of "Ain't No Mountain" and "These Things Will Keep Me Loving You," an alternate vocal take of "Now There's You" that underscores the subtleties of Ross's technique, and a showy, unreleased live version of the album's "Something on My Mind" from one of the diva's first 1970 solo performances. --Jerry McCulley

Customer Reviews

Most Helpful Customer Reviews

12 of 12 people found the following review helpful:

5.0 out of 5 stars Diana's best original album by a mile, March 7, 2003

By A Customer

This review is from: Diana Ross (Audio CD)

Judging by the general lack of availability and Motown's reluctance to reissue the vast majority of Diana Ross' original albums on CD, anyone could be easily forgiven for thinking of her as a singles artiste. How many soul divas of comparable stature do you know whose product has been given such short shrift ? All of Aretha's Atlantic albums (except for the last few that were [bad]) has been reissued by Rhino. But to be honest, Diana didn't make THAT many albums that were classics or stood the test of time. One of the few exceptions was her debut album, which today sounds astoundingly like a landmark album. It isn't revisionist romanticism that has altered these perceptions over the years but simply the realisation that given sympathetic material and the right production values, Diana was untouchable, sublime. Ashford and Simpson were a dream team for her.

"Reach Out And Touch Somebody's Hand" didn't quite catch fire when it first launched her solo career in 1970 but like good wine, it has aged really well and become her concert anthem. Her remodelled "Ain't No Mountain High Enough" was a scorcher and gave her an instant #1 smash, though not without the benefit of some nifty studio editing which transformed the rather loose and sprawling six-minute version heard here on the album into a tight three minute masterpiece. They were right to drop the spoken second verse. "These Things Will Keep Me Loving You" may have been in the running as Diana's debut single but though a great song, it's so similar to the Diana-led Supreme swansong "Someday We'll Be Together" - down to the distinctive male background vocal - it would have scuttled Berry Gordy's plans to disassociate her from her past glory days as the lead Supreme and establish the foundation for a fresh new career.

There are some real gems on this album. Valerie Simpson's own recording of the exquisite "Now That There's You" may have been definitive, but Diana brings a yearning and sexiness to the song that gives it a special flavour. "Something On My Mind" is another standout, a breezy piece of soul that just lopes along. "I Wouldn't Change The Man He Is" stretches Diana's range and phrasing and she comes out tops. "Keep An Eye", which she had originally recorded with the Supremes in 1968 on the "Love Child" album, is a slightly speeded up but superior version of a catchy tune whose most memorable line must surely be "a friend is an enemy you can't see". Diana likewise shrewdly avoids making a carbon copy of the familiar Marvin & Tammi hit "You're All I Need To Get By" by giving it a different spin with a new arrangement. The first eight songs on the album are so perfect you begin to wonder when the purple patch will end and end it did - albeit temporarily - with a dreadfully sappy violin intro into "Where There Is Darkness" but the album thankfully recovers with "Can't It Wait Until Tomorrow" to close on the gorgeously atmospheric "Dark Side Of The World".

For purists who prefer to listen to the original album as it was, the bonus tracks could be played like a companion album. The live recording of "Something On My Mind" is relaxed and joyously sung, opening with Diana's spoken "welcome to let's-see-if-Diana-can-make-it-on-her-own show". The three alternative vocals/mixes aren't so different from the regular versions to make an impression except perhaps to diehards. The real treat lies in the last four Bone Howes produced tracks that were try out sessions for Diana's debut. Though Diana's "Time And Love" is a lovely swinging rendition - more interpretive than the Jean Terrell-led version by the Supremes on their "Touch" album - Laura Nyro wasn't all THAT suited to Diana's still evolving solo style. She does a restrained and respectable take of "Stoney End" but it lacks the punch and drive of Barbra Streisand's rock-out hit version. But wait. The best is yet to come. Criminally buried until now, "The Interim", a Jimmy Webb composition, is a beautiful song that Diana does absolute wonders with. The fans have reason to rejoice. Better late than never, I say. However, those familiar with the Fifth Dimension's "Love Lines Angles & Rhymes" will find Diana's version disappointing. Compared to Marilyn McCoo's taut yet emotional phrasing on this dramatic ballad, Diana's light whispery voice flounders badly as she struggles with the complexity and wordiness of the song. Not her fault, it just didn't suit her.

Diehards and casual fans should just go out and buy this album. For my money, it's the best original album Diana ever made. She would never sound this natural again once her career entered the disco age. The audio quality of this remastered reissue is also something to be relished. Pristine and clear as a bell. Motown should be uged to work on remastering and reissuing "Surrender", another of Diana's criminally neglected early albums, which restores her dream partnership with Ashford and Simpson to its rightful place.

9 of 9 people found the following review helpful:

5.0 out of 5 stars The Grand Solo Debut, March 30, 2005

By 

Ian Phillips (Bolton, Lancashire, UK) - See all my reviews
(REAL NAME)   

This review is from: Diana Ross (Audio CD)

On the 15 January, 1970 at the prestigous Las Vegas Frontier Hotel, Diana Ross played her final concert with The Supremes - who remain the worlds biggest female vocal group of all time. At Ross' fawell concert she introduced her replacement Jean Terrell up on stage. The media then inevitably hyped up supposed competition between Diana Ross the solo star and The "New" Supremes. Indeed Ross opened up her first solo engagement with the words "Good evening ladies and gentleman and welcome to the lets see if Diana Ross can make it on her own show". She need not have worried!

Diana Ross' solo career had been initially planned as far back as 1966 and rumours had been circulating in the media for quite some time about her imminent departure from the group.

In 1969, when still offically a supreme, Ross recorded four tracks with Bonie Howes - Time And Love (originally intended as Ross' debut and later re-recorded by the "new" Supremes and then by the legendary Barbara Streisand), Stoney End, The Interim and Love, Lines, Angles And Rhymes. These four startling tracks steered Ross far away from her style and sound with The Supremes - too far as Motown boss Berry Gordy was concerned!

Deciding to play it safe as to not totally alienate Ross' mainstream buying public. Berry Gordy appointed the hot, genius duo Ashford and Simpson to be at the creative helm of Ross' debut solo album.

Simply titled Diana Ross (1970), the first single to be released would be the sappy Reach Out And Touch (Somebody's Hand). The lyrics vastly alternated between social awareness and pure schmaltz though indeed boasted anthemic qualities. It also encapsulated an uncatchy, waltz-like rhythm that completely defected from the swinging Motown sound. Much to Gordys' reluctance, Ross was adament that Reach Out And Touch be her debut single.

Reach Out And Touch (Somebody's Hand) became an admitedly low key start to such a highly anticipated debut. In the U.S it struggled to No.20 whilst stalling at No.33 in the U.K. That may be a respectable showing for a debut but a huge let down when you take into consideration that this was a lady that had topped the charts twelve times in the space of five years as lead vocalist of The Supremes. Making matters even worse was the fact that the "new" Supremes with Jean Terrell on lead vocals first single, Up The Ladder To The Roof, shot straight into the Top 10. Still, Ross continues to perform Reach Out And Touch to this day at her live concerts where she entices the entire audience to hold hands, unite a sway and sing along with her.

What did bring Ross the success she was accustomed to was the rip-roaring, blockbuster soul classic, Ain't No Mountain High Enough. Ashford and Simpson came up with the perfect masterpiece with Diana Ross in mind by completely re-arranging the version Marvin Gaye and Tammi Terrell had took high into the charts in 1968. Ross talk-sings in that gloriously sensual voice along the verses. The shimmering musical arrangements and powerful gospel backing lead up to an exalting climax where the title is finally sung and Ross' voice surfboards along the tidal wave of musical arrangements after an exhilirating, goose-bump ridden build up. Ain't No Mountain High Enough is really one of Diana Ross' signature tunes. The track is still magical to hear to this day! Ain't No Mountain High Enough raced to the top of the American charts whilst landing in at No.6 in the U.K.

There were surprisingly no other singles issued from the excellent Diana Ross (1970) album but thats certainly not to say that there weren't any other tracks worthy of release as a single. A spine-tingling version of Marvin Gaye and Tammi Terrells' You're All I Need To Get By was a great experiment for the Diana Ross sound. The depth, character and drama ih her soft, intricate voice pours out on this terrific number. Ross puts in a stellar performance on You're All I Need To Get By and Ross' version even surpasses the Marvin Gaye and Tammi Terrell version.

Now That There's You was another commercially slanted number that remained hidden away on this album. Ultimately a feel-good number, Ross' performance sways from moments of vulnreability to shining self-assurance.

These Things Will Keep Me Loving You had been recorded when Ross was still with The Supremes and originally had been intended as her swan-song with The Supremes (which of course turned out to be the superior Someday We'll Be Together). Instead it finished off being used as an album track for this project but is certainly an abover average one at that. That riviting Motown sound is well under way on These Things Will Keep Me Loving You with brief vocal interludes from Johnny Bristol where as Ross delivers a crisp, niaeve sounding vocal performance.

The second half of Diana Ross (1970) is immersed in a dark, atmospheric mood though begins with a nice, light, mid-tempo number Somethings On My Mind which Ross delivers compellingly whilst she sounds more sassy on the catchy, jazz-flavoured I Wouldn't Change The Man He Is.

Keep An Eye sends shivers down the spine as the mood darkens becoming more sombre and mellow. This stunning track tells the bitter tale of betrayal, paranoya and infidelity. The funk-driven rhythm section is further ignited by Ross' soulful and almost chilly delivery.

Where There Was Darkness is simply beautifully mellow complete with a divine performance from Ross whilst even more dreamy and mellow was the gorgeous Can't It Wait Until Tomorrow featuring a beautiful, understated saxophone interlude at the bridge of the song.

The Diana Ross album then winds down with one last magnificent number on the superb, Dark Side Of The World. Ross becomes totally immersed in the stirring, atmospheric arrangements and this emerges as one of the best of the album tracks along with You're All I Need To Get By, Now That There's You, I Wouldn't Change The Man He Is and Keep An Eye.

All in all, Diana Ross (1970) is a very pleasing effort from the great soul diva and was a fabulous start to Ross' long, illustrious and varied solo career. Infact the album is something of an underated masterpiece (though that front cover is pretty hideous with Ross dressed as a child wearing cut off shorts and t-shirt holding an apple and gazingy astonishingly into the air. According to the photographer of that sesson, Harry Longdon, this was to reflect Ross' upbringings in downtown Detroit!).

many of the tracks captures some of Ross' finest singing of that era and also became a strong seller jumping into the U.K and U.S Album Top 20 charts.


Ian Phillips

6 of 6 people found the following review helpful:

5.0 out of 5 stars DIANA ROSS IS SUPREME, June 23, 2006

By 

supremes fan - See all my reviews

This review is from: Diana Ross (Audio CD)

Diana Ross' first solo attempt in 1970 "Diana Ross" (later re-released as "Ain't No Mountain High Enough") was, and is still today a success. In my opinion, it is one of her greater albums. Besides her two greatest hits "Reach Out & Touch Somebody's Hand" and "Ain't No Mountain High Enough", there are a great many engaging and loveable tracks. My personal favorite is her rendition of The Velvelettes' 1965 minor hit "These Things Will Keep Me Loving You". She also re-recorded a track that she had done on the "Love Child" album in 1968, entitled "Keep An Eye". Interestingly enough, both versions were recorded by Diana Ross & The Andantes. But either way, it is still a great song. Another one of my favorites from this album is "Now That There's You". Here she pulls out all the stops and shouts her testification to her man. My final favorite is "Time & Love" which interestingly enough was recorded by the "New Supremes" in 1971 for their album "Touch". Even more interestingly, they both used the exact same pre-recorded music track. The only difference is, Jean sang lead on the Supremes' version which was released, and Diana Ross sang the lead on her version which was not released until now. Either way, this is definitely a personal best for Miss Ross, and I urge you to buy it. After all, with the way merchandise goes, it might not be here the next time you decide to give it a try.