Customer Reviews

Take Me Higher

5 star:		(16)
4 star:		(8)
3 star:		(3)
2 star:		(1)
1 star:		(2)

 

 

Stung by the commercial failure of her hip hop-inflected "Workin' Overtime" (1989), Diana Ross returned in 1991 with "The Force Behind the Power." That album contained some gems, but was waterlogged by tepid, whitewashed pop production. "Take Me Higher" (1995) strikes a polished balance between contemporary soul and the glossy pop drama Ross is best known for. The invigorous title track kicks the collection off with a bubbly, retro-disco groove that is easily Ross' best dance tune of the 1990's. The second track, "If You're Not Gonna Love Me Right," is a radio-friendly R&B groove with an instantly catchy hook. "Keep it Right There" is another fine, sultry R&B number, while "Don't Stop" is a saucy trifle featuring a cute rap interlude by the Boom Brothers. A surprisingly fresh cover of "I Will Survive" seems particularly resonant for this industry veteran. The ballads, however, are where Ross really shines. The shimmering "Voice of the Heart" contains a lovely, glistening vocal. The gentle Latin flourishes on "I Never Loved a Man Before" create a smooth, sexy ambience. The excellent "Gone" has Ross singing in a throaty lower register, and masterfully handling a wordy mouthful of lyrics. Brenda Russell contributes the anthemic "Let Somebody Know," and while the sentiments of "Only Love Can Conquer All" veer close to hokum, Ross' sincere, strong performance makes it sound convincing. The standout performance is "I Thought That We Were Still in Love," set against a quiet, jazzy backdrop. Ross sings with a delicacy and nuance that has been missing from her most recent work, and her thoroughly involved reading of the lyric reminds us that she is an Oscar-nominated actress as well. The production is uniformly sophisticated and slick; it's a credit to Ross and her team that despite four separate producers (Narada Michael Walden; Nick Martinelli; Brenda Russell; and Jon-Jon), the album still creates a cohesive atmosphere and flow. Ross is still in top form here, and has produced what is easily her most enjoyable album of the decade.

This album is one of the best that Diana has ever recorded. I am still at a loss as to why this CD did not generate any hit singles, because there were possibilites galore. From the beat of the title track, to the tenderness of "I Thought That We Were Still in Love", to the emotional "Voice of the Heart", this album takes you through so many stages of feeling. Practically ignored by the radio industry, this album has the power to truly lift one's spirits. It is certainly named appropriately. If only Motown had promoted it properly, more people would have had the opportunity to enjoy its richness.

Being a long time Diana Ross fan, it is a great pleasure to hear her return to the kind of songs she does best: love ballads (Voice of the Heart, Let Somebody Know, Gone, I Never Loved a Man).These songs are some of the best she has ever recorded. The "trendy" songs (Don't Stop, Keep It Right There, If You're Not Gonna Love Me Right) are all fine, but do not showcase Miss Ross' strongest singing abilities. They do show, however, her ability to hold her own amongst the up-and-coming singers of today. The title track is fun and uplifting, probably the best dance tune Diana has ever recorded (rivaled only by "The Boss"), and her cover of "I Will Survive" is in the same neighborhood. The outstanding "I Thought That We were still In Love" is a song that every Diana Ross fan must hear. This CD displays Diana's versatile and matured singing ability at it's very best.

This album is pure delight. Three gems : the song «Take me higher» is what every dance song should be, «If you're not gonna love me right» is a down-tempo wonder and «I thought that we were still in love» is a poignant heartache tune. The album as a whole, showcasing every nuance of her so distintive voice, is pure emotion.

What a great album this is!, why it didn't hit the USA, is a mystery, radio airplay just don't seem to click with the contemporary Miss Ross. The best track is "Take Me Higher", "If You're Not Gonna Love Me Right" pure contemporary R&B so delightful!, great songs a mixture with R&B and dance, great artist, a true DIVA! worth your money!

"Take Me Higher" is, in my humble opinion, Diana Ross' finest studio album from the 90s. This is a fine collection of songs that has a `grown-up' feel to it. After the runaway success of "The Force Behind the Power", Ms Ross opted for a more soulful slant with this album. Ross teamed up with some of the most influential R&B producers in the business - Nick Martinelli, Narada Michael Walden, Jon John and The Boom Bros. The result? A cracking selection of songs that proved that Ms Ross could still strut her stuff.

The UK and US album selections are different - The US version contains the Brenda Russell ballad "Let Somebody Know", whereas the UK version contains the funky little ditty, "Swing It". I'd recommend that US buyers buy the UK version on import - I'll explain why later on!

The album kicks off with the percussive, high N-R-G title track, "Take Me Higher", which is a brilliant. Listen out for Patti Austin's awesome backing vocals. "If You're Not Going To Love Me Right" is a laid back R&B groove.

It's the ballads that stand out on this album and the first is the gorgeous "I Never Loved a Man Before". It has a beautiful Spanish feel to it that provided the perfect backdrop for Diana's delicate, soothing vocals.

Then we come to the UK only track, "Swing It" which has to be one of the funkiest tracks that Diana's recorded. Why wasn't it released as a single? I played this in my car and a friend was shocked to discover it was Ms Ross!

"Keep It Right Here" is the outstanding R&B track. It's sultry, laid back and easy, as is "Don't Stop". They're the kind of tracks that you listen to in the summer while driving along with the top of your car down (for those convertible owners out there!).

We then come to a couple of stellar love songs - the beautiful "Gone" and the stunning "I Thought That Were Still In Love". The latter is one of the most beautiful ballads that Diana's recorded. It's right up there with "Theme From Mahogany" and "Touch Me In the Morning". Her crystal clear diction and phrasing are awesome. The music is like an intricate tapestry that unfolds, complete with a full sweeping orchestra. The sax solo is sassy and classy, and creates a smoky jazz café atmosphere.

There's only one track that I'm not keen on and that's "Voice of the Heart". It's one of those slushy `listen to your heart and it will guide you' songs that Diana seems to be susceptible to singing. There's one on every album, I suppose!

"Only Love Can Conquer All" is a superb ballad that deals with a sensitive issue. It opens with the line:

"They tell us it's better that people should stay with their own kind..."

There's nothing clichéd about this track - indeed, with mixed-raced kids (a melting pot of African American, half Jewish and half Norwegian) Diana surely knew what she was singing about. Her delivery here is full of conviction. This is like a modern day version of "Reach Out and Touch".

The album rounds off with "I Will Survive" - resurrected and revamped for the 90s, complete with a rousing, stomping chorus. Diana looks gorgeous in the video for this track!

So there you have it - a fine album that I'd recommend again and again. It was an instant hit in the UK, where it went straight into the Top Ten album charts, and spawned 3 Top 40 hits, and certified Gold. I'm not sure why it didn't do so well in the US, but it doesn't really matter, as the album speaks for itself.

WORKIN' OVERTIME (1989) saw Diana entering into a new phase which was a brave attemptand although there were a few good tracks on that album it was rather flawed by too many substandard tracks whilst THE FORCE BEHIND THE POWER (1991) saw Diana return to true form and although was a big seller in the U.K, its sales were again pretty disastorous in the U.S despite being a magnificent recording. It was much the same story for this album although fans welcomed this album with open arms. Again this album was a big seller in the U.K with it racing into the U.K Top 10 album charts within its first week of release!

The album begins with the fun, bouncy, uplifting TAKE ME HIGHER which is one of her greatest dance recordings of the 1990s. The track sounds like a classic today even though it only sold surprisingly moderatley in both the U.K and U.S. It certainly sounds like it had all the potential and fire to go to the top of the charts. IF YOU'RE NOT GONNA LOVE ME RIGHT is a rather radio friendly number, with its catchy performance and its funky, urban R and B beat. I NEVER LOVED A MAN BEFORE is a poignant and effective ballard that is perharps the best of the ballards on the album. SWING IT is on the English version of the album which is a funky, grooving R and B/dance number. On the U.S version though is LET SOMEBODY KNOW which remains unreleased inthe U.K. More urban R and B numbers follow that with the catchy KEEP IT RIGHT THERE and DON'T STOP which comes complete with an effective rap from The Boom Brothers. GONE is a breathtakingly beautiful ballard which found favour in the U.K with it entering into the U.K Top 40 charts. Dianas heartfelt performance is totally stunning! One of the other highlights of the album is the mellow, late night jazz number, I THOUGHT THAT WE STILL IN LOVE which is again truly magnificent and stunning. VOICE OF THE HEART and ONLY LOVE WILL CONQUER ALL continue in the Diana Ros tradtion of high quality ballards which do tend to be on the syrupy side but her performances on both of them are faultless. Theres a fresh dance version of Gloria Gaynors 1979 classic, IWILL SURVIVE to which she makes the version her own. Again this was another high success inthe U.K. with it storming its way into the Top 20 charts. This perharps comes just behind EVERY DAY IS A NEW DAY (1999) for being her best album of the 1990s. Magnificent and unique. Highlyrecommended!

In late 1995 soul music legend Diana Ross returned with her first studio project in over four years. Whilst not quite duplicating the commercial success she enjoyed in Britain with The Force Behind The Power (1991)album, it was still indeed an enduring success that rapidly swept into the U.K Top 10 Album Charts.

A series of producers are to be credited on the Take Me Higher album. These include Diana Ross herself, The Boom Brothers (a U.S Rap Group), Naranda Michael Walden (who also produced various work for another soul diva Whitney Houston), Rick Martinelli and Jon-John. Renowned producer Babyface puts his excellent production skills into full use on the more urban R&B/Hip Hop offerings (Swing It and Keep It Right There). Diana Ross obviously was wanting to hit the charts again as she once and reach that crucial younger generation that generally made up the bulk of record sales. Did she succeed? Well partially. The three singles extracted from this album sailed into the U.K Top 40 and enjoyed variable success across Europe (where she continues to be a mostly good seller).

The rip-roaring title track, Take Me Higher was inevitably lifted as the projects debut single. This fun, bouncy number was neatly blended into a striking transistion of Dance/R&B and Diana sounds utterly fantastic. The song is bursting out with energy and this proves to be the perfect vehicle for the modern-day Diana Ross sound. She had modernised her vocal approach and whilst not losing its original qualities, Diana does sound more hip and like a woman half her age (she was 51 when she recorded this album). I actually clearly remember seeing the video to this song continually played on MTV when I was 15 where my friends were also impressed with the song who previously hadn't taken much notice of her apart from whenever I played her (or rammed her down their throats as they used to say, ha. hey I was just trying to educate them about music).

Suddenly Diana Ross was hip and cool again and she successfully had re-invented herself. The accompanying video was also a dazzling affair. Many predicted this classic would go to No.1. Instead it struggled to No.32 on the U.K charts (America once again weren't interested in a new Diana Ross song) but soon after it became a popular club hit (and I loved dancing to it during my early clubbing days) and Take Me Higher is the one Diana Ross recording that i've heard sampled and re-mixed by so many different D.J's into House and Techno. Take Me Higher most certainly made an impact.

If You're Not Gonna Love Me Right was a much more urban R&B and exceedingly radio friendly number with its strong commercial vibe and contagious hooks. Nice musical arrangements here and Diana puts in a breathy, seamless vocal performance, oozing charisma and charm yet at the same time managing to sound sassy and sexy. When If You're Not Gonna Love Me Right was lifted as a single in the U.S however, it disppointingly failed to even crack the U.S Top 100 (from which she'd been absent since 1985).

This steadily leads into the aching, exotic ballad I Never Loved A Man Before which flows beautifully with divine Latin arrangements and Diana has ever proved herself the dynamic vocalist when tackling smooth, Soul-Jazz ballads such as I Never Loved A Man Before.

The album then abruptly swerves into the direction of the urban R&B market with the sublime, funky, grooving, Swing It which is just pure street! An edgy, effective Hip-Hop number where Dianas exuberant delivery oozes sensuality, sounding highly sexually charged at that.

Keep It Right There is simply beautifully mellow in its content. Spiralling rhythms and R&B flavoured arrangements give this late-night number an infectious feel. It is further ignited by Dianas ever-sensational vocal delivery.

Don't Stop is another track featuring Diana delivering a seductive, sexually charged performance and she is fantastic sounding in doing so. The beauty and soul in her voice oozes out on this urban number. Don't Stop also contains a very effective rap interlude from The Boom Brothers which gives this recording more range.

It's then an about turn and back into the ballads terriotry, mainly of the Adult Contemporary/soul variety. Her effective, razor-sharp delivery is stunningly beautiful on the fabulous and gloriously orchestrated I'm Gone. Diana is accompanied by sweeping strings and a gentle piano back drop which compliments her mesmerising and delicatley melting voal style. I'm Gone was lifted as a single in the U.K and jumped to No.36 (though deserved a much higher place). It was a perfect modern-day Diana Ross ballad.

Diana then proceeded to deliver a totally haunting, atmospheric, late-night Jazz number next with the startling, I Thought That We Were Still In Love which comes complete with an injection of Soul with a roaring saxphone played erratically throughout the recording which merley adds to the over-all dazzling effect.

You could argue that the ballads, Voice Of The Heart (a flop single in the U.S) and Only Love Can Conquer All are pure schmaltz but contrarily, Diana Ross is a singer who can lift considerably soppy ballads like these and make them inspirational and appealing to all age groups, any race, any gender, and that is what makes her such a special, unique talent. If I heard anyone else singing Voice Of The Heart, i'd probably run for cover with its sugary content but Diana delivers this in such a distinctive style that I find it hard to say anything bad about it. On the contrary people could also argue that both Voice Of The Heart and Only Love Can Conquer All are actually two very inspirational numbers. Either way I enjoy both of them and that really is purely down to Diana Ross!

Finally the Take Me Higher (1995) album is led to its grand finale and what a perfect way to end the album - a rip-roaring, modern dance version of Gloria Gaynors, I Will Survive. I Will Survive was something of a declaration to the critics that have snubbed her over the years and also something of an ode to her wide legion of gay male fans (which obviously includes myself) and the result was her biggest hit single in Britain in years with it quickly hitting No.14. I won't attempt to compare the Diana Ross version with Gloria Gaynors as there are such individual qualities of its own. Either way, Diana Ross certainly makes I Will Survive one of her own songs and its one she usually performs as a last number at her live concerts today.

Take Me Higher on the whole is a fantastic affair, bubbling in a mixture of styles with Soul/urban R&B/Dance & Jazz. The diverse range of sounds makes this one of the more spectacular latter-day studio albums in the Ross catologue. Sensational! So dim the lights, lie back with a nice bottle of red wine and enjoy the intoxicating sounds of Diana Ross.

Ian Phillips

September 2006

Her first studio album since 1991's "The Force Behind The Power" is a good one at that although not as good as "The Force...." album. The album kicks off with the triumphant title track which was one of the best dance tracks she'd done in years and why it was'nt a bigger hit is surprising. Its followed by the radio friendly "If You're Not Gonna Love Me Right"which again would have made perfect chart material. The aching !"You Made Me Feel Like I Never Loved A Man Before" is reminiscent of her glorious Motown days.On the English version of the album on track 4 is the funky, grooving, urban R n B "Swing It" which could have been a huge dancefloor hit if released with its catchy chrous and Ross' sexy speaking voice through the verses. "Keep It Right There" and "Don't Stop" continue in the same urban R n B mood and then the album switches to the ballard selection with the catchy "Gone" featuring her breathtakingly beautiful vocals. The haunting "I Thought That We Were Still In Love"is one of the highlights of the album with this being one of her most soulful records in years."Voice of The Heart" and "Only love Will Conquer All" are too the usual standard of high quality ballards which Ross has a flair for and finally the album closes with a fresh, triumphant dance version of the classic "I Will Survive". The album ranges from good to very good and is not far behind "The Force Behind The Power".

Curiously dressed in white lace and foil with her eyes glazed or shut and sporting that trademark weave; appearing as though she were angel while walking on air through a back-ally ghetto she may have even once dwelled in, Ms. Diana's surreal snapshots for her '95 release were very ponderous, and on some level, were a pictorial of where she thought her career- and life might have been headed. Where Diana was once a symbol of the courage and hope of her people, she wandered a commercially aimless path, and her career all but washed away in the US, the image of her angelic self walking on air through a ghetto metaphorically represented the the icon she is and always be-even if her career and life pass. Her beautiful figure perched on the ledge on the front cover signified a bird preparing to spread and its wings and fly: if it only from Motown, we hoped. By '95, who would have thought Diana would have found any incentive to record again, given the poor reception to her previous albums-and the irresponsible way Motown handled the promotion thereof. Though all her '90s releases are shaky at best, there are some gems that cannot be ignored, and "Take Me Higher" was no exception.

So, on "Take Me Higher", the opening number-and incidentally the only track to even approach the US Hot 100 within the last 10+ years-Diana found some transcedence. This should have been the anthem that even her detractors should have embraced; it was one of her best and exciting songs in the last 10 years. R and B radio should not have passed on this either; if they found her work too schlocky or white, this was the perfect middle ground for a woman of her age. Cher even had a little dance hit in her later years, remember? "If You're Not Gonna Love Me Right" was a slice of electro-funk that critics said was outdated production wise, but it was so smooth and understated and bouncy it should have caught on for a heritage artist who pioneered so many of the trends,not to mention the as understatedly elegant and equally prophetic "Gone" that was the tearjerker of the year worked as a double-entendre that implored her lost audience not to forget about the loyalty she has had to them and they once had to her-before she was gone. From this delcaration, to the "Voice of the Heart", penned by Monica Lewinksy's guy-pre Tom Green boy-toy Bruce Roberts of "No More Tears" fame was AC ready and even made it-surprisingly-to the US AC charts. "I Will Surive" found Gloria Gaynor attacking Diana for her delivery, but ushered the arrival of producer Louis Biancaniello would later collaborate with Jessica Simpson.