Customer Reviews

Diana Ross

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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.

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

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.

Diana Ross' early solo albums were really something. Delving into her back catalogue is fun as it's so vast!

This calibre of this album is very high indeed. It's an eclectic blend of warm soul and bluesy gospel tinged numbers. Ashford & Simpson were the prefect production team for Diana, as they quickly capitalized on her dramatic vocal capabilities. They also stretched her out of the middle range that was synonymous with her work with the Supremes. The results were outstanding, as Diana's was voice sounds amazing here.

The album opens with Diana's very first solo single and her heartfelt anthem, "Reach Out And Touch" which is, of course, an evergreen classic. Ashford & Simpson didn't want this released as the first single; instead, they wanted the fabulous, spine tingling "Ain't No Mountain High Enough" to be the first single, but Berry Gordy wasn't convinced. As we all know, this was her first US Billboard pop chart #1 hit (#6 on the UK pop charts) and it's here in all its glory. You can tell that Diana had the potential to become a fine actress - just listen to the drama and tension in her voice as the song builds up into the dazzling crescendo.

Other highlights include the lovely ballads "Now That There's You" and "You're All I Need To Get By" plus the gusty performance of "I Wouldn't Change The Man He Is". The soulful groove of "Something On My Mind" was an instant favourite. This re-mastered album with bonus tracks features a superb live version of this song. Perceiving that the world had its eyes on her solo debut, Diana declared in that soft and rather charming American drawl:

"Good evening everybody, and welcome to the 'let's see if Diana Ross can do it by herself show!'"

The diva pulled it off in spectacular style.

In the hands of writer/producers Nick Ashford and Valerie Simpson, Miss Ross comes across as sexy, confident and very soulful. Her acting skills are on display on such tracks as "Dark Side Of The World" (confusion and sadness), "Now That There's You" (joy), "Reach Out And Touch (Somebody's Hand)" (optimism) and of course "Ain't No Mountain High Enough" (confirmation). The arrangements by Motown vet Paul Riser simmer with grace and excitement (check out the thundering horns on "Ain't No Mountain High Enough"), while the background singers sing with gusto. The four excellent alternate cuts produced by Bones Howe (Fifth Dimension, The Association)would have been perfect for her second album, the slightly pop-oriented EVERYTHING IS EVERYTHING.

This debut album is essential Diana along with SURRENDER and THE BOSS, two other Ashford & Simpson produced albums.

In 1970, there weren't many stars bigger than Diana Ross. I remember how excited I was to get her debut solo album, and the crown jewel for me was the long (6:17) version of "Ain't No Mountain High Enough". (Believe me, if you have heard only the shorter version played on most radio stations, then you ain't heard nothin'!) Recently I got rid of my turntable, and, to make a long story short, I bought this CD to replace my old LP. I was also attracted by the fact that the CD is digitally remastered. So, was it worth it? God, yes. The sound is definitely improved. "Reach Out And Touch" enfolds me with welcoming warmth, and "Ain't No Mountain" is positively celestial. The other 9 tracks of the first 11 complete what was on the original LP. These tracks show that the talented people involved in putting together this album gave their star a slick, classy environment in which to express her new solo self. Then there are 8 bonus tracks, recorded at the same time but not included on the original LP. Not too much new is revealed in 12 thru 15, which are alternate versions of 4 of the original 11, except that "Something On My Mind" is live, and "These Things Will Keep Me Loving You" does vary enough from the original to be enjoyably different. The next 2 tracks, "Time & Love" and "Stoney End", were written and recorded by the legendary Laura Nyro, and were also recorded by Barbra Streisand. "Stoney End" was a big hit for Barbra, but Diana's version is closer to Laura's - lighter and less dramatic. I doubt that these songs would have been a good course for Diana to emphasize in her career (which, apparently, she knew), but, again, it is enjoyable to hear her singing these tunes very different from what we are used to hearing from her. The last 2 tracks, "The Interim" and "Love's Lines, Angles & Rhymes", are more abstract, and somber in mood, and they are quite beautiful. The latter became a hit for The Fifth Dimension. So, to sum it all up, I think any fan of Diana's would like the improved sound and varying styles found on this CD, a document of what she was contemplating to present to the world as a solo artist.

Diana Ross delivered this set with a vibrant, enthusiastic approach. Her voice is a singular instrument. There are a handful of singers whose voices are instantly recognizable. Much is said about the timbre and "limitation" of this voice; I find it, and always have found it, to be a bright and moving sound. Let Aretha be Aretha. Let Diana be Diana. Her emotional honesty and joyful vulnerability drive this album. It is a fantastic point of entry for anyone unfamiliar with this phase of her career. Something on my Mind, Dark Side of the World and Reach Out and Touch are highlights! The new material is a delight for Ross fans and underscores her versatility. It is a glimpse of a Diana Ross solo track that would have been very different, yet nonetheless interesting. (Echoes of Everything is Everything and Last Time I Saw Him) I am not alone in hoping that Motown will consider remastered releases of the albums Surrender and Touch Me In The Morning. We would do well to remember how prominent a figure Ross was in the 1970s and how she used her visibility to break down the door for the contemporary image of sophisticated black women. It's in her voice. Enjoy!!!

It is hard to believe that this album was originally released over thirty years ago. Diana Ross was just beginning her long, and some times bumpy career as a solo artist. For anyone who might wonder what the big deal is all about today, listening to the cuts on this remastered disk will refresh any memory, and create new ones for those too young to recall what an impact this vocalist had on her time. The styling range from ballads of lost love, such as "Can't It Wait Until Tomorrow" and "Dark Side of the World", to the somewhat smalzy waltz tempoed "Reach Out and Touch", uptempo numbers like "These Things will Keep Me Loving You", which suggests her final release with the Supremes, to her breathtaking signature concert stopper "Ain't No Mountain High Enough". Ross' ability to "talk" her way through the first part of this song indicates the acting talents to come, and the philharmonic cresendo it lead to is astonishing and utterly captivating. There's a "what might have been" had she released "Stoney End". Over all, this is one of Diana Ross's best efforts and a surprise in that it is so unlike her work with the Supremes. It styled her for years to come and defined her as the first Diva.

For years, I have waited for Motown to put together a worthy package for Diana Ross's first album. I was tired of the continuous repackaging of her greatest hits, because I knew that a great majority of her best songs were the B-sides and album tracks. I was so pleased that Motown actually did it right this time!

For starters, the album itself is nothing short of magnificent. Ross is at her best vocally and stylistically here. She is obviously having fun with the songs, and her voice has never sounded more powerful and convincing. Her dramatic styling is done to the hilt on "Dark Side of the World" and of course on "Ain't No Mountain High Enough." Other great tracks include "Now That There's You" and "Keep An Eye."

The bonus tracks are the best part of the album though. The alternate version of "Now That There's You" show us a very enthusiastic Ross, and her live version of "Something's On My Mind" is nothing short of spectacular. The aborted Bones Howe sessions show us what might have become Diana Ross's solo debut. All in all, Motown finally got it right! I just hope they do the same treatment with other Ross albums, not to mention all of the Motown roster.

Probably the finest representation of just how talented Diana Ross is. "Diana Ross," her solo debut recorded during and immediately following her split from the Supremes, is a brilliant record. Though Ross has spent the better part of the past ten years churning out drippy A/C ballads and the ocassional club/house anthem, it is worth remembering that this very diva was responsible for some amazing music that defined an era. "Ain't No Mountain High Enough," clocking in at over 6 minutes with it's roaring, almost orgasmic gospel climax, is a modern masterpiece. Another hit, "Reach Out And Touch," still inspires her concerts and diva followers alike. Ross stretches her vocal abilities and sheer genius lyrical phrasing on such gems as "Dark Side Of The World," "Can't It Wait Until Tomorrow," and "I Wouldn't Change The Man He Is." She also tackles some pretty daunting covers--with utter triumph--in "You're All I Need To Get By" and "These Things Will Keep Me Loving You." Remastered, repackaged, and beefed up with a whopping 8 bonus tracks (including some aborted session work), "Diana Ross" is essential.