Missing You

[Ollie9]

Children is definitely a product of it's time. lol very 80s sound but the track itself is also energetic and she commits to the vocals with more effort than other tracks. it's not a highlight of her discography but [[apart from the ill conceived child voices) it's hardly the worst she sounded on vinyl. IMO it's more enjoyable than most of Eaten Alive lp

I so disagree. I think the song without doubt the worst she has ever recorded in her long career. Along with “Rescue Me” it remains the low point of the album. It really was so not what she should have been recording at the time.
Give me EA any day.

[Ollie9]

I can only speak for myself, but when I say the sound was dead, I was talking about the Chic sound. Everyone knows a Chic production of the late 70s into early 80s. It has a signature sound. Diana got that sound when it was fast on the way out. She did not need to have any more productions post 1980 that sounded like the diana80 album.

The successes Nile and Bernard moved on to throughout the 80s sounds nothing like the sound they became known for in the disco era. So yeah, using them during this time makes a lot of sense. But Diana could not have afforded a diana80 sound alike in 1981. The public had been there and done that and moved on.

The point being that with the exception of “Mirror Mirror” Diana didn’t move on with her music. In 81 she was doing 50’s retreads or dated disco schlock like “It’s Never Too Late”. The “diana” album sounded fresh and cutting edge by comparison.

[sup_fan]

I so disagree. I think the song without doubt the worst she has ever recorded in her long career. Along with “Rescue Me” it remains the low point of the album. It really was so not what she should have been recording at the time.
Give me EA any day.

see i think her vocals are so weak and breathy on EA. she's out of tune on a significant amount of the tunes and frankly the tunes are really little more than pablum. even Chain Reaction is NOT a high quality song. I'm glad it did well internationally but this is not timeless music. it's a cheap knock off of the motown sound. Katrina and the Waves did it MUCH better with Walking on Sunshine or Wham with Wake Me Up.

[sup_fan]

The point being that with the exception of “Mirror Mirror” Diana didn’t move on with her music. In 81 she was doing 50’s retreads or dated disco schlock like “It’s Never Too Late”. The “diana” album sounded fresh and cutting edge by comparison.

i do agree with this. she was mostly just singing run of the mill pop tunes. I think Mirror, Sweet Surrender and the backing track to Work that Body could have been the anchor of a fresh new sound and album. heck even the title Work That Body could have been super sexy and hot. but the inane lyrics about eating cake!?!? made it a joke of a song.

[Ollie9]

see i think her vocals are so weak and breathy on EA. she's out of tune on a significant amount of the tunes and frankly the tunes are really little more than pablum. even Chain Reaction is NOT a high quality song. I'm glad it did well internationally but this is not timeless music. it's a cheap knock off of the motown sound. Katrina and the Waves did it MUCH better with Walking on Sunshine or Wham with Wake Me Up.

For me there is nothing cheap about “Chain Reaction. I think it a glorious salute to her Motown years that still sounds fresh and exciting today.

[Ollie9]

i do agree with this. she was mostly just singing run of the mill pop tunes. I think Mirror, Sweet Surrender and the backing track to Work that Body could have been the anchor of a fresh new sound and album. heck even the title Work That Body could have been super sexy and hot. but the inane lyrics about eating cake!?!? made it a joke of a song.

I’m pleased we agree on something sup lol.

[sup_fan]

It is very 80s. And like you, I've always thought it sounded perfect for some cheesy 80s movie, which is right up my alley. It's no "Swept Away", but I enjoy it for what it is.

the song Swept Away is sort of a curious entry in her discography. i think it's a pretty solid production and is an exciting song. but i never listen to it. it seems to be so overlooked, easily forgottten.

it only just charted inside the Top 20. apparently it was competing with the duet All of You. do you think it might have had the chance to go top 10? would that have made it more well know and more recognized?

[sup_fan]

I’m pleased we agree on something sup lol.

haha i know!! although this is one of my fav past times here. comparing notes on what we each like/dislike, seeing who's in agreement with us but also seeing who has different ideas. there have been a few times where i've changed my mind about one of the tunes as i've heard more POVs on it.

[sup_fan]

For me there is nothing cheap about “Chain Reaction. I think it a glorious salute to her Motown years that still sounds fresh and exciting today.

i think Battlefield on Force is a stronger tune and better production. although i don't see if as a "lost hit"

after movies The Big Chill, Dirty Dancing, Stand By Me and Twist and Shout appearing in Ferris Bueller, there was a strong interest in the general public for the 60s, motown and motown-esque tunes. some were better than others. CR is IMO not one of the best. Walking on Sunshine is probably one of the best of these throwback style songs.

and i still find the backing Gibbs vocals to be grating, even on CR. the whole sound just doesn't work well with Diana

[RanRan79]

The point being that with the exception of “Mirror Mirror” Diana didn’t move on with her music. In 81 she was doing 50’s retreads or dated disco schlock like “It’s Never Too Late”. The “diana” album sounded fresh and cutting edge by comparison.

I agree, but repeating diana80 wasn't the right move either. In 1981 disco was officially dead. It was time to move on. "Mirror, Mirror" was definitely the right direction. It's unfortunate that she didn't insist the entire album be structured around this more progressive sound.

[RanRan79]

see i think her vocals are so weak and breathy on EA. she's out of tune on a significant amount of the tunes and frankly the tunes are really little more than pablum. even Chain Reaction is NOT a high quality song. I'm glad it did well internationally but this is not timeless music. it's a cheap knock off of the motown sound. Katrina and the Waves did it MUCH better with Walking on Sunshine or Wham with Wake Me Up.

I reluctantly agree with you here. It is a very good song. I think in someone else's productive hands, "Chain" could have been the quality of "Sunshine" or "Wake Me Up". I'm usually gob smacked at the fact that "Chain" was such a huge hit all over the world but failed here at home. But the more I think about it, it is missing something. I think the track needed some extra "oomph", and those backing vocals...where were the Andantes when you need them? I still dig the song, but I can understand better why it didn't take off here.

It's my understanding that Diana initially didn't want to record the song because she thought it sounded too much like what she might have done with the Supremes. After the whole Motown 25 debacle, it might have been good PR for her to call up Mary and Cindy [[maybe even Jean, Lynda, Scherrie and Susaye as well) to sing backup. In a perfect world, Mary and Cindy would have said "yes", the group would have left a better taste in the mouths of the public after Motown 25 and all would be well. In reality of course, Mary would have insisted on singing a few lines, Diana would have been pissed, and the whole thing would never have happened.

[RanRan79]

the song Swept Away is sort of a curious entry in her discography. i think it's a pretty solid production and is an exciting song. but i never listen to it. it seems to be so overlooked, easily forgottten.

it only just charted inside the Top 20. apparently it was competing with the duet All of You. do you think it might have had the chance to go top 10? would that have made it more well know and more recognized?

"Swept Away" is constantly in my "all songs" rotation. I remember it being on the radio all the time as a kid, and the video got a lot of rotation as well. If it was competing with "All Of You", that makes sense that "Swept" only got as far as it did. I think without the competition, it would have easily made it into the top 10. It went top 5 on the R&B chart, as "All Of You" was no real competition there.

[Ollie9]

I agree, but repeating diana80 wasn't the right move either. In 1981 disco was officially dead. It was time to move on. "Mirror, Mirror" was definitely the right direction. It's unfortunate that she didn't insist the entire album be structured around this more progressive sound.

I disagree. “diana” wasn’t a traditional disco album in the vein if ‘I Will Survive. It was funky and exciting r&b that took her in another direction. The public loved this new sound being why it took off. “Mirror Mirror” was fresh, but i don’t think soft rock was a place to linger as in 5O’s retreads being it wasn’t the genre of music she was famous for.
It’s worth noting that the single flopped here in the UK, usually her most reliable market.

[sup_fan]

I disagree. “diana” wasn’t a traditional disco album in the vein if ‘I Will Survive. It was funky and exciting r&b that took her in another direction. The public loved this new sound being why it took off. “Mirror Mirror” was fresh, but i don’t think soft rock was a place to linger as in 5O’s retreads being it wasn’t the genre of music she was famous for.
It’s worth noting that the single flopped here in the UK, usually her most reliable market.

see - another point we agree upon! lol diana 80 wasn't traditional disco and it also wasn't all just traditional chic either. yes there are some parts of it that are very, very chic-heavy. but I'm Coming Out is a total departure from their sound. As you mention, there was a enough funk and urban groove to help it steer clear of being "disco"

[Ollie9]

see - another point we agree upon! lol diana 80 wasn't traditional disco and it also wasn't all just traditional chic either. yes there are some parts of it that are very, very chic-heavy. but I'm Coming Out is a total departure from their sound. As you mention, there was a enough funk and urban groove to help it steer clear of being "disco"

We should be careful, this could become a habit. I would have loved for Nile & Bernard to have worked on a follow up to the funky “diana” set. A slightly harder edged album might have been good in the vein of “Give Up”.
They might even have produced “Mirror Mirror” and “Sweet Surrender” as songs Diana particularly wanted to record.

[RanRan79]

I disagree. “diana” wasn’t a traditional disco album in the vein if ‘I Will Survive. It was funky and exciting r&b that took her in another direction. The public loved this new sound being why it took off. “Mirror Mirror” was fresh, but i don’t think soft rock was a place to linger as in 5O’s retreads being it wasn’t the genre of music she was famous for.
It’s worth noting that the single flopped here in the UK, usually her most reliable market.

I agree that it wasn't traditional disco, maybe not even disco at all. But Chic was a driving force of some of disco's biggest sounds. To the public Bernard and Niles were Chic and they had a rather identifiable sound.

"Mirror, Mirror" wasn't just fresh, it was funky. Soft rock? There's a rockish guitar doing it's thing, but me thinks a "rockish guitar" does not a rock song make. I don't know why "Mirror" didn't break big in the UK, but in the States it was a big hit, just missing the number one spot on the R&B chart. [[I'm curious to know from those of you who may know- looking at you Reese- what was the song that kept "Mirror" from the number one spot?)

"Mirror", "Work That Body" with different lyrics, "Think I'm In Love", and "Sweet Surrender" were all worth keeping. She needed four more edgy cuts and one big ballad and I think the Mirror, Mirror album [[because that's what I would have called it) would have been classic.

[RanRan79]

see - another point we agree upon! lol diana 80 wasn't traditional disco and it also wasn't all just traditional chic either. yes there are some parts of it that are very, very chic-heavy. but I'm Coming Out is a total departure from their sound. As you mention, there was a enough funk and urban groove to help it steer clear of being "disco"

The intro to "I'm Coming Out" isn't characteristic Chic. The rest of it has Chic written all over it.

[RanRan79]

We should be careful, this could become a habit. I would have loved for Nile & Bernard to have worked on a follow up to the funky “diana” set. A slightly harder edged album might have been good in the vein of “Give Up”.
They might even have produced “Mirror Mirror” and “Sweet Surrender” as songs Diana particularly wanted to record.

Don't you hate agreeing with Sup? It makes me feel all icky inside.

Yeah, y'all have way more faith in this idea about the follow up than I do. The previously unreleased album they did with Johnny Mathis in 81 and their own Take It Off album that year all sound a lot like leftovers from the diana80 sessions. Even the album they did with Debbie Harry, while there was some departures in sound, particularly in a rock vein, there were quite a few numbers that basically sound like more leftovers from diana80 with a rock element. Now by the time they get to Bowie, the sound had progressed. There's nothing that sounds like the old Chic sound. So heading back to them for another album makes total sense for Ross83 and onwards. But I fear that had she tried to repeat diana80 with her RCA debut, it would have failed. Massively? Probably not. Underperforming expectations? Yup.

[reese]

"Mirror, Mirror" wasn't just fresh, it was funky. Soft rock? There's a rockish guitar doing it's thing, but me thinks a "rockish guitar" does not a rock song make. I don't know why "Mirror" didn't break big in the UK, but in the States it was a big hit, just missing the number one spot on the R&B chart. [[I'm curious to know from those of you who may know- looking at you Reese- what was the song that kept "Mirror" from the number one spot?)

Not sure, but looking at dates, it could possibly be Stevie Wonder's THAT GIRL.

[Levi Stubbs Tears]

Now by the time they get to Bowie, the sound had progressed.

"They" didn't get to Bowie. Only Nile [[though he got Bernard in to play bass on one track).

[Levi Stubbs Tears]

She did not need to have any more productions post 1980 that sounded like the diana80 album.

The public had been there and done that and moved on.

I think the public had also moved on from songs like 'Why Do Fools Fall in Love' from the 50s, but obviously Diana didn't agree.

[Levi Stubbs Tears]

Underperforming expectations?

That could be the title of every album Diana released at RCA.

[rovereab]

For me there is nothing cheap about “Chain Reaction. I think it a glorious salute to her Motown years that still sounds fresh and exciting today.

I totally agree Ollie9. Chain Reaction is an excellent reminder of the golden Motown years. The accompanying video is also full of fun but with important "reflection" on Diana's different looks over the years.

It hit the nail on the head in the UK where, unlike the USA at times, Diana has never lost her strong following. Chain Reaction is still a floor filler at events and clearly liked by all age groups. Sadly, I don't hear much else to really like on the Eaten Alive album.

[Ollie9]

I totally agree Ollie9. Chain Reaction is an excellent reminder of the golden Motown years. The accompanying video is also full of fun but with important "reflection" on Diana's different looks over the years.

It hit the nail on the head in the UK where, unlike the USA at times, Diana has never lost her strong following. Chain Reaction is still a floor filler at events and clearly liked by all age groups. Sadly, I don't hear much else to really like on the Eaten Alive album.

Absolutely. It’s a Diana Ross classic that for me remains up there with her very best.
Aside from the huge international success of “Chain Reaction”, the “Eaten Alive” single was a top ten r&b hit as well as reaching #3 on the us dance chart.
Regarding EA the album, the big thing for me being at least it was a cohesive set and not just a hodgepodge of songs thrown together.
I would have much preferred something more soulful from a different producer, but the album proved successful enough to make it a worthwhile project.

[sup_fan]

The intro to "I'm Coming Out" isn't characteristic Chic. The rest of it has Chic written all over it.

yes there are chic trademarks to ICO but the use of brass and the trombone solo during the bridge are way different from other chic tunes. that brass sound is the anchor of the song so i think it is really quite different. listen to Good Times, one of biggest hits and just prior to the diana 80 set. it's really a very different sound to what they evolved into on ICO

[jobeterob]

I prefer the Eaten Alive album a little more than SA - I wasn’t keen on Children, FY and even MY wasn’t high up my list. However, I saw the recent list of sales showed SA at 1.5 million - powered by MY, SA and All of You.

[Boogiedown]

Disco was not dead when Diana hit #1 on its chart with UPSIDE/ COMING OUT.
Billboard had a Hot 100 that week for the genre just as it did for Soul, Country, and Pop.

You can't pigeon hole disco as having had a certain sound. There was no one sound. And as soon as any style became too familiar, the DJs were on to the next ... As with UPSIDE DOWN Chic's first release: DANCE DANCE DANCE was not "traditional" disco either. That's what made it stand out as being Chic's sound. In fact I don't know what traditional disco means. It was always changing, always had variables ...
So yes UPSIDE DOWN was a fresh approach to disco ...as was to be expected ...

From that same disco chart of Aug 16, 1980 where Diana was #1


some wild secret disco:



where synths and electronics clash head on with real.


Just for fun

[Ollie9]

Don't you hate agreeing with Sup? It makes me feel all icky inside.

Yeah, y'all have way more faith in this idea about the follow up than I do. The previously unreleased album they did with Johnny Mathis in 81 and their own Take It Off album that year all sound a lot like leftovers from the diana80 sessions. Even the album they did with Debbie Harry, while there was some departures in sound, particularly in a rock vein, there were quite a few numbers that basically sound like more leftovers from diana80 with a rock element. Now by the time they get to Bowie, the sound had progressed. There's nothing that sounds like the old Chic sound. So heading back to them for another album makes total sense for Ross83 and onwards. But I fear that had she tried to repeat diana80 with her RCA debut, it would have failed. Massively? Probably not. Underperforming expectations? Yup.

For me and a lot of others it would have been preferable to what we did end up with.
The traditional Chic sound remained popular throughout the early 80’s, with Sister Sledge charting high with “Thinking Of You” in 83, as well as a remix of “We Are Family” and “Lost In Music” in 84. There was also “Frankie” which reached #1 in the UK.
At that point in time, fans and public would have been more than happy with another “Upside Down/Coming Out” from Diana as much as a “Mirror Mirror” which itself was a nice slice of funk.

[Levi Stubbs Tears]

To the public Bernard and Niles were Chic and they had a rather identifiable sound.

I don't think in 1980 'the public' would have even known who Nile & Nard were. And their sound was always changing. The people that say Debbie Harry's solo album sounds like 'diana leftovers' crack me up.

They wrote Diana's album 'to order' [['songs that my kids can sing') and wrote Debbie's album with a rap [[one of the first)/hip-hop theme. The Koo-koo album was ahead of its' time [[probably why it was not a bigger hit) and still stands out today. Very few of the 'Chic Organisation' productions sound the same apart from quality.

I remember a record review in the early 80s [[post 'Disco sucks' and the Chic hit years) describing a Nile/Nard song as 'pre-meditated excellence'. Maybe 'Record Mirror' or another UK publication.

ETA - I remember the review now. It was the Chic song '26'.

'26 - my baby's a 26. On a scale of 1 to 10, my baby's a 26' lol

[Levi Stubbs Tears]

https://www.youtube.com/watch?v=cjuL32pgsIE

[RanRan79]

"They" didn't get to Bowie. Only Nile [[though he got Bernard in to play bass on one track).

Yes, you're right. Thank you for the correction. Makes sense too because it sounds nothing like the stuff they did together.

[RanRan79]

I think the public had also moved on from songs like 'Why Do Fools Fall in Love' from the 50s, but obviously Diana didn't agree.

Apparently they didn't move on because the song was a hit. I'll never understand why it was a hit. To me it sounds like karaoke and it definitely is not how I would have kicked off this phase of her career. But the public felt differently, unfortunately.

[RanRan79]

That could be the title of every album Diana released at RCA.

You aint lying about that. Lol

[RanRan79]

For me and a lot of others it would have been preferable to what we did end up with.
The traditional Chic sound remained popular throughout the early 80’s, with Sister Sledge charting high with “Thinking Of You” in 83, as well as a remix of “We Are Family” and “Lost In Music” in 84. There was also “Frankie” which reached #1 in the UK.
At that point in time, fans and public would have been more than happy with another “Upside Down/Coming Out” from Diana as much as a “Mirror Mirror” which itself was a nice slice of funk.

Yeah, I can agree it probably would have been a better set of songs than what Fools ultimately ended up being. I'm just not convinced it would have been popular with the general public.

[RanRan79]

I don't think in 1980 'the public' would have even known who Nile & Nard were. And their sound was always changing. The people that say Debbie Harry's solo album sounds like 'diana leftovers' crack me up.

They wrote Diana's album 'to order' [['songs that my kids can sing') and wrote Debbie's album with a rap [[one of the first)/hip-hop theme. The Koo-koo album was ahead of its' time [[probably why it was not a bigger hit) and still stands out today. Very few of the 'Chic Organisation' productions sound the same apart from quality.

I remember a record review in the early 80s [[post 'Disco sucks' and the Chic hit years) describing a Nile/Nard song as 'pre-meditated excellence'. Maybe 'Record Mirror' or another UK publication.

ETA - I remember the review now. It was the Chic song '26'.

'26 - my baby's a 26. On a scale of 1 to 10, my baby's a 26' lol

I'm glad my opinion cracks you up.

Nothing you've said has changed my mind. Johnny's album, Debbie's album, and Chic's album sound like a bunch of stuff that might have been on or recorded for diana80 and I'm unconvinced that the public would have continued to eat the sound up.

[RanRan79]

Her two biggest hits from 1984 were "Swept Away" and "Missing You". She hadn't had a hit single since 1982. Seems like it would have made sense for her to tap Daryl Hall and/or Lionel Richie for the next album, both of whom I have confidence that they would have given her top quality tunes.

[sup_fan]

i don't think the WDFFIL album is terrible. it's quite enjoyable - aside from the hideous Endless Love cover. but i do agree that it isn't up to the task of being THE debut album for her new label.

[RanRan79]

i don't think the WDFFIL album is terrible. it's quite enjoyable - aside from the hideous Endless Love cover. but i do agree that it isn't up to the task of being THE debut album for her new label.

Not terrible, but it wasn't the album that should have kicked off the new phase of her career.

[sup_fan]

Not terrible, but it wasn't the album that should have kicked off the new phase of her career.

completely agree. and another point is one Randy made in a book about how by the time the 80s came around, Diana had been a star for nearly 20 years. and so it wasn't like 1965 where they needed to flood the market with product and have a ton of lps and a new single every 4 months. at this time in her career she could easily have gone 12 - 18 months between albums, provided what was released was strong and meaningful. the WDFFIL package is really more like a random album they released when they just needed product. like if they released an album while she was making a movie or just to have a new lp for the holiday season.

Also she seemed hellbent on maintaining herself in the Top 40. but by this time, that torch had really been passed. and she herself was approaching her 40s. so it's really about a new generation of artists. she should/could have focused more on creating special music and albums, occasionally tapping into some current sound to re-engage with the youth market, perhaps doing a film title track or something.

[reese]

completely agree. and another point is one Randy made in a book about how by the time the 80s came around, Diana had been a star for nearly 20 years. and so it wasn't like 1965 where they needed to flood the market with product and have a ton of lps and a new single every 4 months. at this time in her career she could easily have gone 12 - 18 months between albums, provided what was released was strong and meaningful. the WDFFIL package is really more like a random album they released when they just needed product. like if they released an album while she was making a movie or just to have a new lp for the holiday season.

Also she seemed hellbent on maintaining herself in the Top 40. but by this time, that torch had really been passed. and she herself was approaching her 40s. so it's really about a new generation of artists. she should/could have focused more on creating special music and albums, occasionally tapping into some current sound to re-engage with the youth market, perhaps doing a film title track or something.

During the late 70s and early 80s, most of Diana's peers [Aretha, Dionne, etc.] were releasing at least one album per year. During some of those years, Dionne and Millie Jackson actually released two.

But Diana's contracts [with RCA and EMI] called for her to release an album per year for seven years. So stretching it to 18 months wasn't possible. During her RCA era [1981-1987], she only missed releasing an album in 1986. That was the year she recorded the Harold Arlen album which for some reason went unreleased.

[Boogiedown]

For me and a lot of others it would have been preferable to what we did end up with.
The traditional Chic sound remained popular throughout the early 80’s, with Sister Sledge charting high with “Thinking Of You” in 83, as well as a remix of “We Are Family” and “Lost In Music” in 84. There was also “Frankie” which reached #1 in the UK.
At that point in time, fans and public would have been more than happy with another “Upside Down/Coming Out” from Diana as much as a “Mirror Mirror” which itself was a nice slice of funk.

You could very well be right Ollie....it might have been a one-two punch of success. I guess we'll never know.
I doubt it though. Were you actually thinking at the time, "gee, I wish this Chic/ Diana album were a two-record set??"

They might've stuck her with this one:




Disco to fall asleep by

BTW Don't misunderstand me ...I'm a Chic fan.

[Ollie9]

You could very well be right Ollie....it might have been a one-two punch of success. I guess we'll never know.
I doubt it though. Were you actually thinking at the time, "gee, I wish this Chic/ Diana album were a two-record set??"

They might've stuck her with this one:




Disco to fall asleep by

BTW Don't misunderstand me ...I'm a Chic fan.

Not necessarily this song, but would have more than welcomed a Nile and Bernard follow up to “diana”. It was the funkiest she had sounded in years.
Upon first hearing “WDFFIL”, my only thought was WTF.

[sup_fan]

During the late 70s and early 80s, most of Diana's peers [Aretha, Dionne, etc.] were releasing at least one album per year. During some of those years, Dionne and Millie Jackson actually released two.

But Diana's contracts [with RCA and EMI] called for her to release an album per year for seven years. So stretching it to 18 months wasn't possible. During her RCA era [1981-1987], she only missed releasing an album in 1986. That was the year she recorded the Harold Arlen album which for some reason went unreleased.

definitely true. her contract might have been frankly composed with different intentions. of course RCA coughed up a LOT of money on day 1 and they wanted a return on that investment. and maybe the Harold Arlen material was truly lovely and captivating but unfortunately not commercial. i don't even know if any fans have really heard the material to know how it turned out. it might have been a wonderful "classic" of an album but RCA was wanting top 40.

and i think by that time, the leadership at RCA had changed. the president that signed Diana was gone, partly due to him spending a shit ton on signing marquee acts and singers and not really focusing on the reality of the costs. so the new leadership might have wanted nothing but pop mega hits in order to recoup.

[RanRan79]

Upon first hearing “WDFFIL”, my only thought was WTF.

Same here, although my first hearing it was many years after its release. She was so much better than that crap. Her first single on RCA should have been some type of mega smash. I can't imagine anyone hearing it before it was pressed and released thinking "Now that is going to let the world know that Diana Ross is queen, no matter the label". No doubt in my mind that had she stayed with Motown and gotten some creative freedom, "Fools" would not have made it out the gate.

[RanRan79]

I love Teena Marie. Her first few albums at Motown are pretty great. She released some fantastic singles too, but most of what she recorded didn't live up to it's potential, sales and chart wise. I've always been confused about that, although now I realize that her race and the public's wishy washy attitude toward it just didn't make for the best combo for taking her career to the heights it should have been.

So I said all of that to say something I know I've said before, that had Diana stayed at Motown, Teena producing her album after diana80 might have been a perfect match. Diana singing the songs instead of Teena could have been very successful. Not that Diana and Teena's singing styles were anything alike, but I think Diana would have done a great job with "It Must Be Magic", "Square Biz", "Portuguese Love", among others.

[midnightman]

Not necessarily this song, but would have more than welcomed a Nile and Bernard follow up to “diana”. It was the funkiest she had sounded in years.
Upon first hearing “WDFFIL”, my only thought was WTF.

Imagine going from Funkadelic to doing a ballad with some cheesy pop producer lol that's exactly what it felt like. LOL