Customer Reviews

Swept Away

5 star:		(6)
4 star:		(5)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

I have the original RCA release of this CD (long out of print but I bought a used one on ebay a few years ago).

As soon as I saw that it was being re-issued, I thought finally a remasterd version would sound so much better. While EMI may have done a little bit of digital remastering I doubt they used the original master tapes because this reissue only sounds slightly better than the old RCA version. The sound level is still very low, the highs are harsh and the bass is very weak.

Even the CD itself still has a date on it of 1984, and the CD is still made the way they were in the early days - no silkscreen top coat, just plain laquer (CD's are more susceptable to scratching this way).

The song Swept Away is one of my favorites by Ross and of that style of dance music from the early 80's. I guess I'll just have to wait to see if EMI or RCA or someone else will ever remaster from the original tapes this CD or at least the album version of Swept Away.

this is another DIANA ROSS rca product and one of her best along with the RED HOT AND BLUES CD.on this outing DIANA leaves most of the producing to other people which in this case makes a better album.Not only does this lp feature classic Ross hits such as MISSING YOU,SWEPT AWAY, and the r@b hitTELEPHONE but the album eases along with some great lp cuts and strong vocals by ross such as NOBODY DRIVES ME CRAZY LIKE YOU,ITS YOUR MOVE,FOREVER YOUNG and the uk hit TOUCH BY TOUCH.only one down fall is the inclusion of WE ARE THE CHILDREN OF THE WORLD,instead of the lost track FIGHT FOR IT.This track would have made the lp more urban.Ross also does a good job on a cover RESCUE ME,and after hearing it you forget who originally sang it.The CHILDREN OF THE WORLD is a bit weak and rather schmaltzy.Diana has never been either.9 out 10 tracks are ross classics.one of her best.check out RED HOT AND BLUE cd.

Swept Away stands the test of time. Great songs, including the wonderful ballad 'All of You'. So glad this LP was put on a CD.

Diana Ross' recording career had hit the rocks in 1983 with the dismal sales of what is still easily her worst ever studio project, Ross (1983). Prior to Ross (1983) Ross had recorded the dreary, mish-mash Silk Electric (1982) which though successful commercially (becoming a Gold seller) contained none of the fire and soulful edge that had made so many of her Motown records so magical.

That changed in 1984 when Ross returned with what was at the time her best album yet for RCA Records. The project, titled Swept Away (1984),was perharps more successful in that Ross didn't try so hard to escape and shake off the style that had made her famous as she blatantly did on the experimental albums Silk Electric (1982) and Ross (1983). There were indeed some diverse experiments on Ross' part on Swept Away but no musical style was over-done and over-all Ross carries the whole Swept Away album off with ease, style and finesse.

Swept Aways' first single would be one of her all-time great ballads Missing You. That year, tragedy struck when the genius soul superstar Marvin Gaye was shot dead by his estranged father following a heated argument between the two. Written by the great Lionel Richie, Missing You was a moving and powerful tribute to the late legend who Ross had recorded a succesful and now classic album of love duets with in 1973 (see separate review for the Diana And Marvin album). Ross' emotions are evidently stirred up as she sings those strongly emotive lyrics and she sounds stunning as the track builds up to its dazzling crescendo.

Missing You flew straight into the U.S Top 10 charts and perharps was so successful in that it reflected her glorious Motown past. Missing You is indeed a classic Diana Ross ballad though oddly enough the song completely bombed in the U.K despite several re-promotions and a moving video that featured footage of Ross on stage with Marvin Gaye as well as other footage of the late Florence Ballad (founder of The Supremes who was fired from the group in 1967 and tragically died a penniless alcoholic in 1976 at the age of 32), Paul Williams of The Temptations (who shot himself in the head after having been distraught over poor finances and ill health) and a still of Ross' mother Ernestine who had died that year of cancer. Ross' performance on Missing You really gets to you and this was quite possibly her greatest recording for RCA Records.

The exotic, Caribean feel on the fun, bouncy Touch By Touch, features a vibrant, refreshing and even a little angelic (she was 39 at the time of recording this project) performance from Ross. This atmospheric, happy go-lucky number was lifted as a single where it surprisingly struggled into the lower reaches of the U.K Top 50 (but enjoyed some success in some parts of Europe).

Ross delivers a riveting vocal performance on her impeccable updating of the old Fontella bass classic Rescue Me. More routine and familiar were the smooth, lush arrangements on the yearning ballad It's Your Move which Ross still carries off with a lot of spark therefore deeming it compelling.

One of the more diverting experiments came with the stormy, atmospheric title track, Swept Away. This powerful number is complimented by a firm, razor-sharp performance from Ross who seamlessly surfboards along the tidal wave of musical arrangements that contains echoey, crashing sound effects at the exalting bridge of the song. Swept Away quickly raced into the American Top 20 charts, stopping at No.19.

Bernard Edwards, one half of the famous 70's disco group Chic, and who had co-produced the riotously funky masterpiece diana (1980) album (a landmark in Ross' career) wrote Telephone for the Swept Away project which was belatedly released as an American single in 1985 (though got nowhere!). This soft-funk number, complete with swirling, atmospheric arrangements and a highly effective breathy, seamless performance from Ross, had the potential to have been a reasonably sized hit had it been promoted far better than it actually ever was.

Ross takes a hesitant step into the growing electro-pop market on the startling Nobody Makes Me Crazy Like You Do. This was an interesting, if not entirley succesful experiment that hit the times well (though inevitably sounds dated now years later).

Ross' duets with the likes of Marvin Gaye and Lionel Richie had proved phenomenal and her gorgeous duet with Latin singer Julio Igelias was no exception. The mesmerising All Of You featured two charismatic and divinely sensual performances from Ross and Igslias who sound perfectly compatable when captured together on record. Rumours circulated around at the time that Ross and Igelias were romantically involved but this was nothing but fabrication on the medias' part. Ross and Igelias enjoyed a close friendship at a point and following the loss of her mother a distraught Ross took herself and her three children to stay with Igelias at his home at Christmas in 1984. Their timeless duet All Of You was another U.S Top 20 smash hit whilst faltering within the lower reaches of the U.K Top 50.

The almost ghastly We Are The Children Of The World is the albums only real throw-away track but one of the ultimate highlights is Ross' soaring renedition of Bob Dylans Forever Young. Ross enhances her delicate voice to startling effect on Forever Young delivering a mesmerising, crystal-clear and strong performance.

Swept Away was largely produced by Ross herself with some other contributions from Daryl Hall on that startling title track and Arthur Baker. Swept Away (1984) quickly restored her selling power in the U.S after the low sales for Ross (1983). Swept Away was rapidly certified Gold by the RIAA. In the U.K the album climbed to a moderate No.40 which wasn't bad considering the project hadn't yielded any major hit.

Overall Swept Away is a pleasing effort from the great soul diva and an essential album for Ross fans.


(However what is slightly laughable was the albums black and white cover featuring Ross wearing heavy, gothic-like make-up and sporting a toilet-brush spiked hairdo which was described by one critic for People magazine as Ross looking like "one of those West German postpunkers who do their hair with crazy glue". It was certainly a far cry from that glamorous, elegant lady we all bow down to on stage. It was in the ealy 80's that Ross remarkably went through various manifestations of her own dress sense.)


Ian Phillips

I'm buying this CD to replace the LP I bought way back in 1984! I love this album, every track is worth a listen.

"Missing You", the tribute to Marvin Gaye, is the most recognizable track, and I think it hit #1 on the R&B chart. "Swept Away" is upbeat and danceable, you can hear the influence of Darryl Hall. I also really enjoyed "Telephone", it's rather funky. "Forever Young", a torch song ballad, is a nice end to the album.

Wow, this CD brings back memories. I agree with the other reviewer who said this was Diana's last great album. As a lifelong fan of Diana Ross, I readily admit it.

Swept Away was Diana's last successful commercial release in the U.S. Swept Away was the beginning of the end of Diana's reign as the boss. All of You with Julio Iglesias was a beautiful ballard that fell short of the success of Endless Love. Swept Away was a powerful track that demonstrated that Ross could keep up with the other divas of the era like Chaka Khan, Evelyn King and Donna Summers. Diana's vocal performance was both passive and powerful and showed sex appeal and strength. Missing You was Ross' last hit and number 1 R&B ballad yet it struggled to maintain the number ten spot on the pop charts a sign that this was the beginning of the end. Other noticeble tracks include Telephone and Touch by Touch. Definitely the last album that was a complete masterpiece by Ross.

Diana Ross may have had bigger hit albums ("Diana", "Why do fools fall in love", her eponymous debut, to name a few) but this has always been my favourite album of hers.

In 1984, Diana was very much in her experimental phrase (which began with "Why do fools fall in love"), trying everything from reggae to rock. "Swept away" was her fourth studio album for RCA and featured production by various people; Lionel Richie, Daryl Hall, Bernard Edwards, and Ms Ross herself. There was pop, rock, dance and her trademark ballads.

Opening is "Missing you", a lush piano ballad (with a nice spoken bridge) written and produced by Lionel Richie and recorded in memory of former Motown label mate Marvin Gaye who had died earlier in the year. This has been her last US top 10 hit to date (#10). Next up, the lite Caribbean soul of "Touch by touch" (with demolishing drum beats), a remake of the Fontella Bass hit "Rescue me" (not drastically reworked), the tender horn sprinkled "It's your move", and the stomping dance/rock title track "Swept away" (with a spoken intro, a blistering guitar solo, and aggressive vocals from Diana), written and produced by Daryl Hall, this is one of my favourites, and #19 in the US.

Bernard Edwards (from Chic) produced the next track, the wonderful "Telephone" with echoing vocals, which starts off with a phone being dialled, followed by deep plodding beats, a sparse, scratchy bass line, and the famous Chic guitar sounds. Fabulous! Next up, synthesizer pop á la Donna Summer's "I feel love", "Nobody makes me crazy like you do"; a bleak, haunting beauty with loads of electronic flourishes.

"All of you" is another lush ballad, this time a duet with Spanish crooner Julio Iglesias. This was another #19 hit. "We are the children of the world" (with a children's chorus) is hi energy rock/pop (and the weakest track on the album), and closing is a tender reading of Bob Dylan's "Forever young".

The album artwork was stunning too. Diana had just turned 40 but looked eons younger in the beautiful Francesco Scavullo photos, the original vinyl case folded open like her "Diana" album, and she was also aping the "Diana" pose. The album hit the top 40 and was certified gold.

"Ross '83" should have been a resounding commercial success with the now world renown Central Park concerts as a surefire dramatic launch. What was missing from the album was something that radio could fully embrace. That said, I approached the release of "Swept Away" with cautious optimism. The lead single, "Swept Away" was a bonafide Pop Hit, Top 10 R&B Hit and a #1 smash in the clubs. Cautiously, dropping the needle down on this new album, "Missing You" immediately takes your breath away. It was little surprise that with an extra push (thanks American Music Awards), it would become the #1 multi-format single that it deserved to be. It is one of Ross' most convincing, soulful vocal performances ever put on wax through the 80s or any other period in her career. The emotional lost she felt for Marvin's transitioning was so perfectly captured in Lionel Richie's poignant lyrics and production. (It should have been an easy win for a Grammy, but, that's another story). Daryl Hall took the reigns on the title track. Reported angling in the studio between Diana and Daryl triggered a hot, burning vocal sparring between Diana and Daryl as the song draws to a dramatic ending. (I noted the remix or extended mixes' electronic oooos=electronic "Boss"-like ad libs). The other AC chart topping single united Diana with international superstar, Julio Iglesias. I wish I could say that it fulfills. But for me, its just a little too "L.A."-ish, just like the video. Though many fans seem to like that video. And it was the hit it needed to be Top 20 pop and top 10 AC. More importantly, it gave Julio the international english speaking hit that raced up the charts across Spain, France, Italy, Germany and Australia. It was just what Julio had envision to help break deeper into the english-speaking markets.
Diana took production reigns for the remainder of the project. It is by leaps and bounds, a better self-production outing than either "Why Do Fools" and/or "SIlk Electric". She adds a wonderful, fresh new wave feel to Fontella Bass' "Rescue Me". That same new wave feel is taken to new heights by the Robbie Benson (love him)/Karla DeVito written "Nobody Makes Me Crazy Like You Do". These are very 80s sounding tracks but they hold up well. In her continuing quest for great songs, "It's Your Move" and "Touch by Touch" fits nicely. Almost forgot about the Bernard Edwards, 4th single "Telephone". I loved this song at first. It gets a little repetitive with repeated listenings but still offers fresh promise of what another union with the Chic guys would be like. (And what is the Chic team without their signature hypnotic repetition). An Expanded Edition in the future must include, the Diana-penned "Fight For It". Once again, she trumps a troubling entry like "Girls" and actually achieves one of the best songs she had a hand in writing to date. Thanks to the quality of this project, RCA's promotion team diligently worked this album for a year taking it beyond Platinum.....Diana Ross, the artist co-mingles with Diana Ross, the business person meshes nicely. She probably felt she had something to prove after "Ross '83" didn't live up to its commercial expectations. So she worked hard to select just the right producers to deliver radio friendly hits and trusting her working with the Motown/EMI A&R staff. RCA probably orchestrated her working with Daryl Hall (though Hall & Oates always loved the Motown sound, inspired by The Supremes' work with The Funk Brothers as heard on "Maneater", which falls somewhere between a sped up-"My World is Empty Without You" and a mellowed down "You Can't Hurry Love". Richard Perry was another producer choice that could have come from either Diana directly after their work on "Baby It's Me" or RCA considered the enormous success he experienced with The Pointer Sisters, Lionel Richie was undoubtedly a natural creative ally considering their history, as could be said, for Bernard Edwards.

She really earns her Executive Producer props though for the songs that were brought in to surround the single leads. "Touch by Touch" produced by Diana became a hit in the U.K. and in South America partially due to its Bossa Nova stylings. The spiked 80s hair was co-opted by Tina Turner first and either perfected or complimented by Nona Hendryx. So that could possibly explain the 80s of it all. Both "Nobody Makes Me Crazy" and "Rescue Me" are given flourishes of 80s nuances by Diana as producer underscoring this mid-80s entry. "It's Your Move" and Dylan's "Forever Young" were also Diana Ross self production candidates that held up strong along with the superstar/producer tracks targeted for single release. An Extended Version of the album captures live versions of "Telephone", "Rescue Me" along with "Missing You" and "Swept Away" as live versions. She toured for over a year again taking the album to platinum sales levels and beyond. "Swept Away" was an ideal case study for how to construct a hit and make it a hit as well.

Before Beyonce',there was Diana.Despite the very clished and obvious comparasin (if you've already seen the film version of Dreamgirls you'll get it instantly) this is Diana's fourth RCA album and self produced at that. At this point in her life Diana could rely on image,name and reputation to carry herself forward career wise and that allowed her to be more unpredictable and not have to be ultra commercial throughout every song. The presense of Arthur Baker,Nile Rodgers & Bernard Edwards and Daryl Hall bring the point home:this is an album that's thoroughlly mid 80's in execution and sound. What's good about it is that Diana goes for a slow crawl for the most part;grooves that are sexy,urban and contemporary for the time with a strong emphasis on rhythm and changes in tempo from song to song. "Missing You" is actually a pretty classy tribute to Marvin Gaye.Of course and,even though I swore before I picked up this CD (the original US version by the way) from my local Goodwill that I swore I'd never heard it before but after hearing it turns out I have on several occasions;I have to wonder why no Maine DJ has announced the names of the songs they play through at least half my lifetime. This album is primarily dominated by dance tunes with a light electro funk twist but,luckily nothig is too intrusive instrumentally. "Touch By Touch","It's Your Move" and the excellent,slinky title song are great examples for those digging into this for the first time. On "Telephone" Bernard Edwards deepens the groove for what is likely the funkiest jam on the whole album,which I would not exactly qualify as funk per se. She also turns out a good modernized version of "Rescue Me". The music really isn't all that different from Fontella Bass's classic original only the production is of course modern and the sound is a lot more polished. "Nobody Makes Me Crazy Like You Do" is one of my favorites here;not likely one most people will remember beyond being an album track but an excellent contrast between these surreal,genuinely Devo/Kraftwerk-like electronic synth sound and Diana's.....sometimes surreally sweet and high singing style. It's a kind of genre,as a person interested in the art of pop music that I think Diana should've explored more personally. But she doesn't spend much of this trying to pass herself off as Annie Lennox or something and that leads to triumphs and a couple head scratchers here for some people. Compared to the well orchestrated grandure of her Motown era pop epics "All Of You" with
Julio Iglesias and a version of Dylan's "Forever Young" are very over produced-sounds like someone mixed the orchestration over Diana's very good vocal interpretations and the result is pretty schmaltzy sounding musically. That and the very silly Broadway production numbere-styled "We Are The Children Of The World" are the reasons I deducted a star from this otherwise excellent 80's urban,contemporary groove album. I will certainly agree though that among Diana's mixed bag of albums at RCA this is one of the strong of the bunch and aside from three dud songs (well duds to me anyway) this is an excellent addition to her fairly vast catalog.

diana never reall got the credit she deserved for her rca years, she did some fine stuff!! i feel she tried to stretch her wings, and i like that! the woman has guts an tenacity, i love her!! this along with eaten alive is my favorite rca album!!!