jobeterob
12-15-2010, 03:20 AM
BOOK REVIEW:
Diana: Queen of Motown by Ian Phillips [[Bank House Books, 2010)
By K. Bonin
This January 2011, Diana Ross will be celebrating her 50th anniversary as the Queen of Motown. She has been performing since she was 16 and actually released her first record in 1959 as a Primette [[The Primettes were the sister group to The Primes, soon-to-be The Temptations). Throughout her career, she has often received as much deserved praise, as she did, at times, endure unfair criticisms. It is safe to say that she is one of the most misunderstood artists of her generation. The Beatles had their share of feuds and group disagreements including the demonization of Lennon's spouse, Yoko Ono. And the current bestseller blockbuster by Keith Richards rips the veil off of the friction inside of The Rolling Stones. But somehow Diana Ross has been portrayed as one of music's singular villains.
The negative press targeted at her, came, most infamously, from the victimized Mary Wilson in her bestselling autobiography, Dreamgirls. But it also came from a barrage of books on Diana and Motown by scribes like Randy Taraborrelli [[Call Her Miss Ross), Tony Turner [[All That Glittered) and Raynoma Singleton [[Berry, Me and Motown) from the mid Œ80s to the early Œ90s. Most of these books capitalized on sensationalistic tales, rewritten history and one-sided embittered memories. What was lost in translation was the significant contribution that Diana has made to the American arts and the adoration of millions of fans.
Finally, a number of books have surfaced recently that celebrate her rich legacy. One by Tom Adrahtas [[A Lifetime To Get Here), Ed Ifkovic [[Diana's Dogs: Diana Ross and the Definition of a Diva) and now Ian Phillips' [[Diana: Queen of Motown) all sing praises of her meteoric rise and her enduring staying power. It is Ian Phillips¹ tome that finally begins to analyze her vast body of work, rather than her controversial persona.
The book is split into 3 sections, The Supremes period, her solo period and her movies. All of her albums are analyzed from a musical standpoint focusing on her vocal performances and the production on the various albums. Chart analysis from both the U.K. and the U.S. are included. Phillips, being a Brit, brings a unique Euro-spin on arguably her most successful territories. Her recording career in Europe has remained a lot more vibrant than it has, unfortunately, here in the States.
Beginning with her debut, ŒMeet the Supremes¹, Phillips takes a close look at the challenges that Motown had in identifying the appropriate mix to create music that still endures today [["Stop! In The Name of Love" by The Glee Cast recently hit the iTunes Top 5). ŒMeet the Supremes¹ included 8 failed singles written and produced by Berry Gordy and Smokey Robinson. It would not be until Holland-Dozier-Holland began crafting songs [["When the Lovelight Starts Shining in His Eyes") for Diana's unique, clear commercial-sounding voice that the hits would begin pouring in from around the world. Phillips' digs deep into the recording processes of the first attempts to find a sound and then captures the utter excitement that occurred in the summer of 1964 when "Where Did Our Love Go" broke through in 3 short weeks. Fans and musicologists get a glimpse into the journey of how quickly The Supremes became "America's Sweethearts".
In an extensive look at the year and a half "Where Did Our Love Go" spent on the Billboard, Cashbox and Record World charts, you are transported to how Americans possibly began to heal after the loss of a President as the British Invasion brought The Beatles to our shores while the Sound of Young America, "The Motown Sound", in turn invaded the rest of the world.
Berry Gordy had the ladies create several themed albums like ŒWe Remember Sam Cooke¹, ŒSings Country, Western and Pop¹ and ŒSings Rodgers and Hart¹. Those projects were not necessarily meant to rival the contemporary hits. They were designed to emphasize Ross' expanding versatility. Analysis of these albums is also included, as well as that of their platinum holiday album, ŒMerry Christmas¹. It is within these early theme albums that Ross' potential begins to surface brightly. Long before Linda Ronstadt's trilogy of albums with Nelson Riddle or Streisand's pair of Broadway albums [[ŒThe Broadway Album¹, ŒBack to Broadway¹), Diana delved into the Great American Songbook on vinyl and in the Supremes¹ stage act, [[ŒLive at the Copa¹). Diana¹s current tour encompasses many of the Performing Arts Centers around the country. These type of venues tend to be more upscale and include Broadway touring shows and jazz and classical recitals. It is her comfort level with this material that has helped her remain a viable touring act for 5 decades. Diana's career, under Gordy's direction, was intentionally designed to last long past when the contemporary hits stopped coming.
The Supremes would have a list of "first" accomplishments that included their memorable appearance at The Copa in New York. Long reserved for the likes of the Brat Pack [[Frank Sinatra, Dean Martin and Sammy Davis Jr.), the Copa had limited/prohibited appearances by non-white acts. The Supremes broke down that barrier by being the first black pop act to grace its stages. This appearance required an understanding of the Great American Songbook, as well as a showcasing of their hits. Albums like ŒSing Rodgers & Hart¹ and ŒI Hear a Symphony¹ appealed to some of the same buyers of Streisand's adult contemporary albums of that period. ŒLive at the Copa¹ was a culmination of how well that idiom had been mastered by Diana and The Supremes. Diana's eloquent phrasing and caressing of a lyric proved to be as suited for Rodgers & Hart's Broadway catalog as it did "Come See About Me". This factor has often gotten lost through the years. Nurtured during the early Œ60s, Diana competed with ease as the charts were ruled by Johnny Mathis, Barbra Streisand, Broadway scores and the maturation of rock 'n roll. [[Ross would also receive high marks from Jule Styne, composer of "Funny Girl" for recreating that entire score).
It would be the marriage of Holland, Dozier, Holland with Ross' sensuous and dramatic phrasing that would drive her to sell over 200 million records worldwide. With studio albums like ŒWhere Did Our Love¹, ŒMore Hits¹, ŒI Hear a Symphony¹, ŒHolland, Dozier, Holland¹, ŒA Go Go and partially ŒReflections¹, the dynamic marriage would garner no less than 12 #1 singles and over 13 Top 10-20 albums [[two hit #1). The guys knew how to write songs that best highlighted Diana's best vocal qualities. In the confines of the diminutive Studio A, Diana worked diligently as the guys crafted songs that would become uniquely hers.
This success would be duplicated around the globe. Phillips' relays the chart success she would achieve in the U.K. with the same depth as he captures it stateside. It is fascinating to see how some projects fared better here than abroad. Albums like ŒLive at London's Talk of the Town¹ soared to #6 in the U.K. with performances attended by Paul McCartney and Mick Jagger. Diana would win a 2nd designation in the Guinness World Book of Records for posting a chart hit once each year for an astounding 32 years. Her last U.K. hit, a duet remake with Westlife of her song "When You Tell Me You Love Me", hit #1 in Ireland and #2 in England in 2005 [[as compared to her last hit on these shores being a hip hop sampling of "I'm Coming Out" on the #1 "Mo' Money, Mo' Problems" by Notorious B.I.G. in 1997. Ross declined label credit though it rightfully belonged to her). Diana enjoyed a near global resurgence in the early Œ90s beginning with the timeless, ³The Force Behind the Power².
It was her British fan base that helped lay the ground work for her return to radio and charts across the European continent, Japan and Australia. [[It is safe to say that Ross¹ return to Motown, though heralded at the time, was underwhelming). Her international label, EMI, ensured that her career was restored.
Thanks to a diligent and focused effort, Ross¹ early solo albums have all benefited from Expanded Editions. Motown/Universal has done exceptional work with its elaborate reimagining of her 1970 solo debut, ŒDiana Ross¹, ŒEverything is Everything¹, ŒSurrender¹ and the long lost companion to her ground breaking, ŒLady Sings the Blues¹ in ŒBlue¹. These reissues are excellent. The author includes updates from both the original album and its more recent expansive reissues.
Diana has been one of the most photographed celebrities in the rock Œn roll era. There are nice clear quality photos from The Supremes first European tour in 1965, rare 45 single covers, and gorgeous studio and film career shots. Also included are very recent shots from her 2006-2007 ³This Is It² European stint and the 2007 domestic ³I Love You² tour, capturing her emotive spirit on stage.
After the massive amount of success and praise she received while leading The Supremes, a new level of artistry would surface in her solo career beginning in the Œ70s. Her preparation for her first starring feature film would find her immersed in all things Billie Holiday for most of 1971-72. She would prove to be a great method actress. As she honed her natural acting skills, her voice would also begin to mature and expand. This was a prime example of how committed she was to her art. A similar thing happened when she began filming The Wiz. Quincy Jones is said to have taken her voice up another octave or two. This would be a perfect lead-in to what nearly all fans consider to be her finest work of the Œ70s, ŒThe Boss¹.
Diana: Queen of Motown by Ian Phillips [[Bank House Books, 2010)
By K. Bonin
This January 2011, Diana Ross will be celebrating her 50th anniversary as the Queen of Motown. She has been performing since she was 16 and actually released her first record in 1959 as a Primette [[The Primettes were the sister group to The Primes, soon-to-be The Temptations). Throughout her career, she has often received as much deserved praise, as she did, at times, endure unfair criticisms. It is safe to say that she is one of the most misunderstood artists of her generation. The Beatles had their share of feuds and group disagreements including the demonization of Lennon's spouse, Yoko Ono. And the current bestseller blockbuster by Keith Richards rips the veil off of the friction inside of The Rolling Stones. But somehow Diana Ross has been portrayed as one of music's singular villains.
The negative press targeted at her, came, most infamously, from the victimized Mary Wilson in her bestselling autobiography, Dreamgirls. But it also came from a barrage of books on Diana and Motown by scribes like Randy Taraborrelli [[Call Her Miss Ross), Tony Turner [[All That Glittered) and Raynoma Singleton [[Berry, Me and Motown) from the mid Œ80s to the early Œ90s. Most of these books capitalized on sensationalistic tales, rewritten history and one-sided embittered memories. What was lost in translation was the significant contribution that Diana has made to the American arts and the adoration of millions of fans.
Finally, a number of books have surfaced recently that celebrate her rich legacy. One by Tom Adrahtas [[A Lifetime To Get Here), Ed Ifkovic [[Diana's Dogs: Diana Ross and the Definition of a Diva) and now Ian Phillips' [[Diana: Queen of Motown) all sing praises of her meteoric rise and her enduring staying power. It is Ian Phillips¹ tome that finally begins to analyze her vast body of work, rather than her controversial persona.
The book is split into 3 sections, The Supremes period, her solo period and her movies. All of her albums are analyzed from a musical standpoint focusing on her vocal performances and the production on the various albums. Chart analysis from both the U.K. and the U.S. are included. Phillips, being a Brit, brings a unique Euro-spin on arguably her most successful territories. Her recording career in Europe has remained a lot more vibrant than it has, unfortunately, here in the States.
Beginning with her debut, ŒMeet the Supremes¹, Phillips takes a close look at the challenges that Motown had in identifying the appropriate mix to create music that still endures today [["Stop! In The Name of Love" by The Glee Cast recently hit the iTunes Top 5). ŒMeet the Supremes¹ included 8 failed singles written and produced by Berry Gordy and Smokey Robinson. It would not be until Holland-Dozier-Holland began crafting songs [["When the Lovelight Starts Shining in His Eyes") for Diana's unique, clear commercial-sounding voice that the hits would begin pouring in from around the world. Phillips' digs deep into the recording processes of the first attempts to find a sound and then captures the utter excitement that occurred in the summer of 1964 when "Where Did Our Love Go" broke through in 3 short weeks. Fans and musicologists get a glimpse into the journey of how quickly The Supremes became "America's Sweethearts".
In an extensive look at the year and a half "Where Did Our Love Go" spent on the Billboard, Cashbox and Record World charts, you are transported to how Americans possibly began to heal after the loss of a President as the British Invasion brought The Beatles to our shores while the Sound of Young America, "The Motown Sound", in turn invaded the rest of the world.
Berry Gordy had the ladies create several themed albums like ŒWe Remember Sam Cooke¹, ŒSings Country, Western and Pop¹ and ŒSings Rodgers and Hart¹. Those projects were not necessarily meant to rival the contemporary hits. They were designed to emphasize Ross' expanding versatility. Analysis of these albums is also included, as well as that of their platinum holiday album, ŒMerry Christmas¹. It is within these early theme albums that Ross' potential begins to surface brightly. Long before Linda Ronstadt's trilogy of albums with Nelson Riddle or Streisand's pair of Broadway albums [[ŒThe Broadway Album¹, ŒBack to Broadway¹), Diana delved into the Great American Songbook on vinyl and in the Supremes¹ stage act, [[ŒLive at the Copa¹). Diana¹s current tour encompasses many of the Performing Arts Centers around the country. These type of venues tend to be more upscale and include Broadway touring shows and jazz and classical recitals. It is her comfort level with this material that has helped her remain a viable touring act for 5 decades. Diana's career, under Gordy's direction, was intentionally designed to last long past when the contemporary hits stopped coming.
The Supremes would have a list of "first" accomplishments that included their memorable appearance at The Copa in New York. Long reserved for the likes of the Brat Pack [[Frank Sinatra, Dean Martin and Sammy Davis Jr.), the Copa had limited/prohibited appearances by non-white acts. The Supremes broke down that barrier by being the first black pop act to grace its stages. This appearance required an understanding of the Great American Songbook, as well as a showcasing of their hits. Albums like ŒSing Rodgers & Hart¹ and ŒI Hear a Symphony¹ appealed to some of the same buyers of Streisand's adult contemporary albums of that period. ŒLive at the Copa¹ was a culmination of how well that idiom had been mastered by Diana and The Supremes. Diana's eloquent phrasing and caressing of a lyric proved to be as suited for Rodgers & Hart's Broadway catalog as it did "Come See About Me". This factor has often gotten lost through the years. Nurtured during the early Œ60s, Diana competed with ease as the charts were ruled by Johnny Mathis, Barbra Streisand, Broadway scores and the maturation of rock 'n roll. [[Ross would also receive high marks from Jule Styne, composer of "Funny Girl" for recreating that entire score).
It would be the marriage of Holland, Dozier, Holland with Ross' sensuous and dramatic phrasing that would drive her to sell over 200 million records worldwide. With studio albums like ŒWhere Did Our Love¹, ŒMore Hits¹, ŒI Hear a Symphony¹, ŒHolland, Dozier, Holland¹, ŒA Go Go and partially ŒReflections¹, the dynamic marriage would garner no less than 12 #1 singles and over 13 Top 10-20 albums [[two hit #1). The guys knew how to write songs that best highlighted Diana's best vocal qualities. In the confines of the diminutive Studio A, Diana worked diligently as the guys crafted songs that would become uniquely hers.
This success would be duplicated around the globe. Phillips' relays the chart success she would achieve in the U.K. with the same depth as he captures it stateside. It is fascinating to see how some projects fared better here than abroad. Albums like ŒLive at London's Talk of the Town¹ soared to #6 in the U.K. with performances attended by Paul McCartney and Mick Jagger. Diana would win a 2nd designation in the Guinness World Book of Records for posting a chart hit once each year for an astounding 32 years. Her last U.K. hit, a duet remake with Westlife of her song "When You Tell Me You Love Me", hit #1 in Ireland and #2 in England in 2005 [[as compared to her last hit on these shores being a hip hop sampling of "I'm Coming Out" on the #1 "Mo' Money, Mo' Problems" by Notorious B.I.G. in 1997. Ross declined label credit though it rightfully belonged to her). Diana enjoyed a near global resurgence in the early Œ90s beginning with the timeless, ³The Force Behind the Power².
It was her British fan base that helped lay the ground work for her return to radio and charts across the European continent, Japan and Australia. [[It is safe to say that Ross¹ return to Motown, though heralded at the time, was underwhelming). Her international label, EMI, ensured that her career was restored.
Thanks to a diligent and focused effort, Ross¹ early solo albums have all benefited from Expanded Editions. Motown/Universal has done exceptional work with its elaborate reimagining of her 1970 solo debut, ŒDiana Ross¹, ŒEverything is Everything¹, ŒSurrender¹ and the long lost companion to her ground breaking, ŒLady Sings the Blues¹ in ŒBlue¹. These reissues are excellent. The author includes updates from both the original album and its more recent expansive reissues.
Diana has been one of the most photographed celebrities in the rock Œn roll era. There are nice clear quality photos from The Supremes first European tour in 1965, rare 45 single covers, and gorgeous studio and film career shots. Also included are very recent shots from her 2006-2007 ³This Is It² European stint and the 2007 domestic ³I Love You² tour, capturing her emotive spirit on stage.
After the massive amount of success and praise she received while leading The Supremes, a new level of artistry would surface in her solo career beginning in the Œ70s. Her preparation for her first starring feature film would find her immersed in all things Billie Holiday for most of 1971-72. She would prove to be a great method actress. As she honed her natural acting skills, her voice would also begin to mature and expand. This was a prime example of how committed she was to her art. A similar thing happened when she began filming The Wiz. Quincy Jones is said to have taken her voice up another octave or two. This would be a perfect lead-in to what nearly all fans consider to be her finest work of the Œ70s, ŒThe Boss¹.