Eaten Alive single

[Albator]

I'm listening the extended mix and the single mix. As a Diana Ross fan, it's frustrating because what she does is a featuring, but the song isn't that bad. I certainly don't think it is the worse on the album.
And the clip was very interesting.

#10 on the R&B isn't that bad

[Boogiedown]

But, who wants to listen to a line like , " I don't want to get eaten alive" over and over?

And I can do better percussion, and often do, banging pots and pans.

[reese]

I have to admit that I didn't like the single on first listen and little has changed since. I think Diana sounds quite fine on it but the song itself, IMO, is no great shakes. It sounds like a third-rate SWEPT AWAY. I wonder what would have happened if CHAIN REACTION had been the first single.

Re its #10 chart R&B chart placing, that's not bad at all. It followed the #13 TELEPHONE. For the most part, the r&b audience stuck with Diana up through the TAKE ME HIGHER album. They weren't all hits but at least they had some interest. Pop radio stopped listening after CHAIN REACTION.

[Boogiedown]

I have to admit that I didn't like the single on first listen and little has changed since. I think Diana sounds quite fine on it but the song itself, IMO, is no great shakes. It sounds like a third-rate SWEPT AWAY. I wonder what would have happened if CHAIN REACTION had been the first single.

Re its #10 chart R&B chart placing, that's not bad at all. It followed the #13 TELEPHONE. For the most part, the r&b audience stuck with Diana up through the TAKE ME HIGHER album. They weren't all hits but at least they had some interest. Pop radio stopped listening after CHAIN REACTION.


Ya I'd be interested to see the rest of that Top 10.

This is about when the R&B chart pretty much dissolved into the sh*ts....

[sup_fan]

i think the backing track of the song is rather strong. the problems though with the overall song are:

1. confusing oddball lyrics - almost as bizarre as Pieces of Ice.
2. idiotic choices with Diana's vocal production - whoever thought this was good was fucking fool. she's so buried, blurred and muddied. just a dumb decision
3. Michael and Gibbs are too prominent - the backing vocals are too identifiable.

so basically you have an instrumental track that was solid and the rest sort of sucks.

[nomis]

18935


I love Eaten..particularly the extended mix..the obscure lyrics dont bother me..putting Diana,MJ and the Gibb brothers together on one song was always going to end up with a somewhat Frenzied performance..

Michael heard an early mix of the track and Barry invited him to add some lyrics however there was contention with arranger Albhy Galuten over the final mix..

the video fits the song premise perfectly - frantic,primal,sensual and dangerous..

I once played some of Diana's music videos to a friend who was 21 or 22 and knew nothing of Diana's music and career..he loved 'Eaten Alive' more than anything else..

[JLoveLamar]

But, who wants to listen to a line like , " I don't want to get eaten alive" over and over?

But we have no trouble with, "Thriller Night! I can feel ya more than any ghoul would ever dare twice."

I loooooove Eaten Alive so much. I don't have a problem with the lyrics. I saw somewhere it's supposed to be about giving a woman oral sex, which just adds to the hilarity of it.

[sansradio]

But we have no trouble with, "Thriller Night! I can feel ya more than any ghoul would ever dare twice."

I loooooove Eaten Alive so much. I don't have a problem with the lyrics. I saw somewhere it's supposed to be about giving a woman oral sex, which just adds to the hilarity of it.

LOL. That's "I can thrill you more than any ghost would ever dare try," but I feel ya.:D

[after you]

I absolutely love eaten alive it’s fierce it’s rocking her vocals are stunning she runs to the top of the mountain with this one

[Albator]

I loooooove Eaten Alive so much. I don't have a problem with the lyrics. I saw somewhere it's supposed to be about giving a woman oral sex, which just adds to the hilarity of it.I suspect something like that too ;)

[sup_fan]

weird or unorthodox lyrics aren't necessarily bad. even indistinguishable lyrics don't automatically doom a song - listen to much of Janet Jackson's work for examples of both of these lolol.

Part of the power of Diana Ross though, IMO, was her amazing way to convey emotion and the story of a song through lyric. part of her talent is her storytelling. the way she combines her musical phrasing with lyric. Also her vocal tone was always "the sound." from the early Sup days until later solo work, the timber of her voice was always able to penetrate even big heavy tracks like Lovelight or It's My Turn.

Someone brought up the odd lyric of Thriller - yep and it works. I'll bring up Janet's big hit If. one of the most muddied and muted lead vocals ever released to the public. but it's a hot song and was a major hit.

I will give her credit for experimenting with EA but experimenting shouldn't mean completely tossing aside the foundation of your sound or singing. it should be new ways of interpreting that sound. Look at Madonna - so many different styles but they're all still "madonna"

[daviddh]

What if
Chain reaction was the first track on the album and..., first single.
Eatin was track 5 and only released as a dance single n video with the second single, Crimes of Passion, being released.
Kinda thought EA was dark but was hoping for me like bro @andys lp shadow dancing.more pop. i thought the album came off more soulful than pop

[RanRan79]

I'm with Sup on this. I do like the song, but it wasn't what she should've been doing at the time. MJ is prominent on it, which IMO is a selling point. But Diana's success for the longest time hinged on her unique voice and how she could convey a lyric. She seemed to get to a place where choosing songs that showed off her vocal abilities and her interpretation skills were of no concern. Look at what hit for her at RCA: "Mirror, Mirror", "Muscles", "Swept Away", "All Of You" and "Missing You". Of those, "Muscles" might be the weakest cut. It's so campy, and even on the corny side, and Diana is certainly not going full throttle vocally, but that track is sexy as hell, her vocal approach, while soft, seems right on the money for such a song, and again, MJ is involved, always a plus. "Mirror, Mirror" was no "Baby Love", but it was still Diana Ross. "Swept Away" was no "Mountain High Enough" but it was still Diana Ross. "Missing You" wasn't "Touch Me In the Morning" but it was still Diana Ross. And her branded stamp on these cuts is why the public bought into them. Look at the stuff that didn't hit. It's easy to see how the public could've been disconnected, even if the songs weren't always bad.

[Boogiedown]

"Tie me to a tree, crawl all over me
You can rip my shirt, drag me in the dirt
I will be your slave, anything you say
I don't ever wanna be eaten alive"


:rolleyes:


https://www.youtube.com/watch?v=ydxAReX6o9g

[RanRan79]

What if
Chain reaction was the first track on the album and..., first single and
Eatin was track 5 and only released as a dance single n video with the second song Crimes of passion, being released.
Kinda thought EA was dark but was hoping for me like bro @andys lp shadow dancing.more poo

"Chain Reaction" in the hands of another producer might have yielded a better result here in the States.

[Ollie9]

Diana's success for the longest time hinged on her unique voice and how she could convey a lyric. but it was still Diana Ross. And her branded stamp on these cuts is why the public bought into them. Look at the stuff that didn't hit. It's easy to see how the public could've been disconnected, even if the songs weren't always bad.

Nail on the proverbial head post.

[SatansBlues]

I'm with Sup on this. I do like the song, but it wasn't what she should've been doing at the time. MJ is prominent on it, which IMO is a selling point. But Diana's success for the longest time hinged on her unique voice and how she could convey a lyric. She seemed to get to a place where choosing songs that showed off her vocal abilities and her interpretation skills were of no concern. Look at what hit for her at RCA: "Mirror, Mirror", "Muscles", "Swept Away", "All Of You" and "Missing You". Of those, "Muscles" might be the weakest cut. It's so campy, and even on the corny side, and Diana is certainly not going full throttle vocally, but that track is sexy as hell, her vocal approach, while soft, seems right on the money for such a song, and again, MJ is involved, always a plus. "Mirror, Mirror" was no "Baby Love", but it was still Diana Ross. "Swept Away" was no "Mountain High Enough" but it was still Diana Ross. "Missing You" wasn't "Touch Me In the Morning" but it was still Diana Ross. And her branded stamp on these cuts is why the public bought into them. Look at the stuff that didn't hit. It's easy to see how the public could've been disconnected, even if the songs weren't always bad.
Both EA and Pieces of Ice violated one of Berry Gordy's most important tenents to a song: the ability to understand the lyrics. When I first played both the 45 and EA album I knew it would be a flop. To this day I still don't know the lyrics to either songs.

[sup_fan]

What if
Chain reaction was the first track on the album and..., first single and
Eatin was track 5 and only released as a dance single n video with the second song Crimes of passion, being released.
Kinda thought EA was dark but was hoping for me like bro @andys lp shadow dancing.more poo

I don't know. MAYBE if CR was the first single it might have helped salvage the project. but IMO the project was a shitpile. sorry guys - but i'd listen to Silk Electric on endless repeat versus EA.

there is certainly potential on EA but the combination of Diana's own nasality to her voice and the Bee Gee falsettos is one of the harshest, most cringeworthy combination of sounds in her entire discography. I absolutely hate it.

then add to that the horrible production of her vocals. More and More should have been a gorgeous song but her vocals are so weak, so thin and so out of tune. totally unlistenable

[nomis]

"Chain Reaction" in the hands of another producer might have yielded a better result here in the States.

Chain reaction sounds perfect to me..I don't think another producer was needed... RCA in the u.s dropped the baton as it's success internationally proved..

[PeaceNHarmony]

Chain reaction sounds perfect to me..I don't think another producer was needed... RCA in the u.s dropped the baton as it's success internationally proved..Yes, an utterly perfect and hit-ready single. But, the market was not really looking for performers of Diana's age.

[Albator]

Part of the power of Diana Ross though, IMO, was her amazing way to convey emotion and the story of a song through lyric. part of her talent is her storytelling. the way she combines her musical phrasing with lyric. Also her vocal tone was always "the sound." from the early Sup days until later solo work, the timber of her voice was always able to penetrate even big heavy tracks like Lovelight or It's My Turn.


All this is true and that's why I said that "for a Diana Ross fan" it's frustrating. But if you don't look for her sound, it's quite a good song. Your remarks apply to the whole Eaten Alive album. Her distinctive tone is missing or elusive or intermittent.
Even "Chain Reaction" is on the razor.

[Ollie9]

All this is true and that's why I said that "for a Diana Ross fan" it's frustrating. But if you don't look for her sound, it's quite a good song. Your remarks apply to the whole Eaten Alive album. Her distinctive tone is missing or elusive or intermittent.
Even "Chain Reaction" is on the razor.

The joyous “Chain Reaction” is pure Diana Ross to me. ;)

[Albator]

The joyous “Chain Reaction” is pure Diana Ross to me. ;)She doesn't sing it very well in concert, to my ears. She can sing and act at the same time her Supremes songs, but not this one.

[Bluebrock]

Chain reaction sounds perfect to me..I don't think another producer was needed... RCA in the u.s dropped the baton as it's success internationally proved..

Sounds perfeçt to me. A glorious throwback to the 60's with some 80's gloss added to the mix.
Barry did a great job on this
The UK, Ireland and Australia certainly recognised a good tune when they heard it. I never tire of hearing it.

[Boogiedown]

https://i.ebayimg.com/thumbs/images/g/I0QAAOSwwz1fkyhq/s-l225.webp


can somebody post a youtube link for this version??

[Ollie9]

She doesn't sing it very well in concert, to my ears. She can sing and act at the same time her Supremes songs, but not this one.

Sadly I agree. The sped up live version is way to Cabaret for my taste. Waste of a terrific song.

[Guy]

i think the backing track of the song is rather strong. the problems though with the overall song are:

1. confusing oddball lyrics - almost as bizarre as Pieces of Ice.
2. idiotic choices with Diana's vocal production - whoever thought this was good was fucking fool. she's so buried, blurred and muddied. just a dumb decision
3. Michael and Gibbs are too prominent - the backing vocals are too identifiable.

so basically you have an instrumental track that was solid and the rest sort of sucks.

I think the instrumental track is the root of the problem otherwise I agree with all, except No. 3. Thinking about the Francois K 12" mix, it really heats up when all three voices are smashed together in discordant chaos. The whole track is a rhythmic mess, it's like two different songs playing at the same time; but those immediately identifiable voices all together make it sound like an event -- a catastrophic event but an event nonetheless. I still occasionally listen to it when I'm doing cardio.

[Guy]

"Chain Reaction" in the hands of another producer might have yielded a better result here in the States.

Too retro...

I never heard a hit single. 'Chain Reaction' was a nice album track but I couldn't imagine folks buying the single, and in the U.S. they did not.

I was only a little surprised it was such a hit in the UK. That was the same year I learned Sister Sledge's "Frankie" hit No. 1 in the UK. So clearly there is more appetite for throwbacks in the UK.

[nomis]

Too retro...

I never heard a hit single. 'Chain Reaction' was a nice album track but I couldn't imagine folks buying the single, and in the U.S. they did not.

I was only a little surprised it was such a hit in the UK. That was the same year I learned Sister Sledge's "Frankie" hit No. 1 in the UK. So clearly there is more appetite for throwbacks in the UK.

the UK loves nostalgia - big hits in this period were "Reet Petite","Stand By Me" "Under the broadwalk" and Madonna 60'sesque "True Blue" among others

[RanRan79]

Chain reaction sounds perfect to me..I don't think another producer was needed... RCA in the u.s dropped the baton as it's success internationally proved..

I love the song as is. But I do think in the hands of another producer the sound may have had a bit more soul to it, more bite. Not to mention the one thing about the song that I don't like is the background vocals. Without any Gibb involvement, different backing vocalists would've been utilized and I do think that would've been an improvement of sound. To me "Chain Reaction" was very Motowny. There were a lot of songs out at the time that were going for that sound. I think the Gibbs were going for that also, but the track sounds more "generic 80s" than it might otherwise have sounded in the hands of someone else. And maybe then the song wouldn't have tanked in the States.

[RanRan79]

Too retro...

I never heard a hit single. 'Chain Reaction' was a nice album track but I couldn't imagine folks buying the single, and in the U.S. they did not.

I was only a little surprised it was such a hit in the UK. That was the same year I learned Sister Sledge's "Frankie" hit No. 1 in the UK. So clearly there is more appetite for throwbacks in the UK.

I disagree. That retro 60s sound was one of the rage of the 80s music in the States. The problem is the track was a little stale and the backing vocals were...yikes.

[RanRan79]

the UK loves nostalgia - big hits in this period were "Reet Petite","Stand By Me" "Under the broadwalk" and Madonna 60'sesque "True Blue" among others

"True Blue" was big over here too, among others with that throwback sound. Honestly, this may have been where Diana could've really garnered some big sales. Her voice is one of the hallmarks of the 60s. Had they figured out a way to pair that with something retro yet very fresh, that didn't make Diana look like a has been trying to reclaim a former glory, she might have had a winner.

[nomis]

"True Blue" was big over here too, among others with that throwback sound. Honestly, this may have been where Diana could've really garnered some big sales. Her voice is one of the hallmarks of the 60s. Had they figured out a way to pair that with something retro yet very fresh, that didn't make Diana look like a has been trying to reclaim a former glory, she might have had a winner.

I agree Billy Joel Had huge success with the Frankie Valli/Four Season's homages "The Longest Time" & "Uptown Girl"

[after you]

This song is fierce it will make you thing not every thing is Normal but she takes this song out of the Hat and Delivers Forcefulness soulfulness and above all the signature voice that is Diana Ross

[Spreadinglove21]

Eaten Alive is a hot sexy record. Diana Ross and Michael Jackson are always magic together. It should have been a bigger hit. I prefer Diana when she sings about love andhope and uplift and inspiration, but songs like Eaten Alive are fun and sexy. This song makes me want to dance. I love back in the day going to the clubs and I always got on the floor to dance my you know what off when the DJ played us some Diana Ross.

[Spreadinglove21]

18935


I love Eaten..particularly the extended mix..the obscure lyrics dont bother me..putting Diana,MJ and the Gibb brothers together on one song was always going to end up with a somewhat Frenzied performance..

Michael heard an early mix of the track and Barry invited him to add some lyrics however there was contention with arranger Albhy Galuten over the final mix..

the video fits the song premise perfectly - frantic,primal,sensual and dangerous..

I once played some of Diana's music videos to a friend who was 21 or 22 and knew nothing of Diana's music and career..he loved 'Eaten Alive' more than anything else..


I love that picture of Diana and Michael. So much love. So much magic.

[Boogiedown]

This single coming out during the wane of Michael's incredible club run with the THRILLER stuff obviously had a lot to do with its success ......the continuance of that voice [and the haunting/ zombie theme) was readily welcomed , and what a clever combo when it includes of all unexpected things, the Bee Gees. And Diana Ross.

Her best moments were missed I think by not honing in on stylizing her vocals as heard at :29---


https://www.youtube.com/watch?v=CakXhX8m39o

[Nitro2015]

To me, the big problem with the single is that it sounds like a Michael Jackson song - so far, all great - sung by Bee Gees - I hate their style of singing, it sounds dated and very waning-like.

If Diana sang like herself, with her personal vocal style, the result would have been a million times better.

In fact, this is the problem with the entire album. She is singing as if she were someone else.

Michael Jackson's style suits her much better than the Bee Gees's style.

So, the Bee Gees type of vocals take away the oomph of the song and of the entire album.

[SatansBlues]

The Bee Gees were date and passe at this point. Was it the record label's idea to pair DR and the Bee Gees together?

[after you]

The problem with this song is that it is just too darn good just listen to those vocals it’s a fun song so have fun with it

[marybrewster]

The Bee Gees were date and passe at this point. Was it the record label's idea to pair DR and the Bee Gees together?

Are you kidding? They had huge hits with Babs, Dionne, and Kenny and Dolly just a few years prior. Maybe the problem wasn't the Bee Gees, but Diana herself.

[marybrewster]

Eaten Alive [[single and album) sucked, save for CHAIN REACTION, which is in my top 5 Diana songs of all time.

I think the Bee Gees didn't know what to do with her.

[vgalindo]

The Eaten Alive album is in my top 5 favorite Diana Ross albums. Loved her with The Bee Gees. Doesn’t get any better than “Experience”. Her voice is crystal clear and beautiful.

[Levi Stubbs Tears]

Was watching Barry in 'The Great Songwriters' series yesterday and he said when Diana's album was done, she said 'you must have something else for me' and they said 'well...' [[as they had done a Chain Reaction demo, intending to record the 'Motown tribute' as a single themselves). Apparently once Diana heard it, she insisted on doing it.

Some good insights from the series. In the one with Jimmy Webb, Motown insisted he took some songs, that he'd written while on contract with Jobete, with him as they had no use for them.'

I bet when HDH left Motown, Berry wished he had one of these songs - Up, Up & Away - ready to record with the Supremes or another act.

[RanRan79]

Are you kidding? They had huge hits with Babs, Dionne, and Kenny and Dolly just a few years prior. Maybe the problem wasn't the Bee Gees, but Diana herself.

Just a few years prior is SB's point. I don't believe in 1985 anybody but Diana Ross was thinking "The Bee Gees, that's where my next hit is coming from". True enough, "Chain Reaction" proved to be a global monster hit outside the US and the title track to the album hit pretty good R&B and Dance. Some tweaks to the entire project might have saved it, but personally I think this was a mismatch.

[RanRan79]

I think the Bee Gees didn't know what to do with her.

Agreed. Had they gotten ahold to Diana in the late 70s, maybe even the period before she left Motown, I think they could've matched up pretty well. By the mid 80s I don't think they really had a good read on the direction to take her. But to be fair, Diana herself apparently did have a good read on what direction to go in either, hence some of the crap we got.

[Ollie9]

It’s interesting that the “Eaten Alive” album creates as much division regarding fans opinion as does “”Workin’ Overtime”. Personally i think both albums contain some gems.
I have gotten to like “Eaten Alive” more as the years have passed. I just wish Diana’s voice was more prominent on the song.
Sadly the album lacks a killer ballad. Its hard to understand how Diana allowed MJ voice to be so prominent on the EA track yet they never recorded a duet for the album.
An “I Just Can’t Stop Loving You” type ballad would have extended interest and provided a commercial follow up to the brilliant “CR”.

[khansperac]

^^^ My favorite song from the album is “I’m watching you”. I consider that a killer ballad. As far as “Eaten Alive” and Michael Jackson, I consider that a duet. He is just not credited.

[Bluebrock]

I thought i had previously explained how the Eaten Alive sessions came to be.
Barry had pursued Ms Ross on a few occasions in the early 80's to no avail. He gave a whole album to Kenny Rogers which he had intended for Ms Ross. This included Islands in the stream. He had all but given up on her when she got in touch demanding an album almost immediately. The scheduled producer had pulled out due to "creative differences". She had the studio bookèd but no songs and producer. Barry was anxious to work with her but he was unable to compose 8 new songs in around 10 days so he had to find enough material from previously submitted material along with unused material from Ms Streisand, Ms Warwick and Kenny Rogers. The sessions were rushed. The title track was finished with added input from MJ, and chain reaction which Barry originally intended for the Bee Gees. He played it to her and she begged him to produce it on her. The album was all but finished at this point, and a song had to be binned to make way for CR. They chose what was in my opinion one of the cream cuts. I think. I think it was called it's up to you. It lay festering in the vaults until Ms Streisand heard it and recorded it herself for the Barry helmed Guilty 2 project. She knew a good song when she heard it.
Barry was not happy having to rush the project through despite getting short notice help from MJ amongst others. Maurice Gibb was even more unhappy and resented Ms Ross for having repeatedly turned them down, and then a few years later demanding an album at short notice. He and Miss Ross clashed in the studio to such an extent that Barry barred him from the studio.
I personally like most of the album, but it could and would have been better had Barry been given more time tò prepare.
He would like the opportunity to produce her again, but that will not hàppen sadly.
Hope this helps.

[Ollie9]

^^^ My favorite song from the album is “I’m watching you”. I consider that a killer ballad. As far as “Eaten Alive” and Michael Jackson, I consider that a duet. He is just not credited.

By killer ballad I was thinking top 5. “”I’m Watching You” is a charming song and probably my favourite from the album. I seriously doubt it had the potential to climb that high though.
I agree that EA sounds more like a duet.........unfortunately.

[Ollie9]

I thought i had previously explained how the Eaten Alive sessions came to be.
Barry had pursued Ms Ross on a few occasions in the early 80's to no avail. He gave a whole album to Kenny Rogers which he had intended for Ms Ross. This included Islands in the stream. He had all but given up on her when she got in touch demanding an album almost immediately. The scheduled producer had pulled out due to "creative differences". She had the studio bookèd but no songs and producer. Barry was anxious to work with her but he was unable to compose 8 new songs in around 10 days so he had to find enough material from previously submitted material along with unused material from Ms Streisand, Ms Warwick and Kenny Rogers. The sessions were rushed. The title track was finished with added input from MJ, and chain reaction which Barry originally intended for the Bee Gees. He played it to her and she begged him to produce it on her. The album was all but finished at this point, and a song had to be binned to make way for CR. They chose what was in my opinion one of the cream cuts. I think. I think it was called it's up to you. It lay festering in the vaults until Ms Streisand heard it and recorded it herself for the Barry helmed Guilty 2 project. She knew a good song when she heard it.
Barry was not happy having to rush the project through despite getting short notice help from MJ amongst others. Maurice Gibb was even more unhappy and resented Ms Ross for having repeatedly turned them down, and then a few years later demanding an album at short notice. He and Miss Ross clashed in the studio to such an extent that Barry barred him from the studio.
I personally like most of the album, but it could and would have been better had Barry been given more time tò prepare.
He would like the opportunity to produce her again, but that will not hàppen sadly.
Hope this helps.

I had no idea the album was a rush job and that it contained unused songs from the projects of other singers. Do you know why Diana needed the album so quickly?.
“It’s Up To You” is a lovely song. What a shame it couldn’t be used for the expanded EA.
Its interesting that “CR” was the last track recorded for the project as her voice sounds comparatively revitalised on the song.

P.S...Do you Know who the original producer was meant to be?.

[Boogiedown]

What a shame ISLANDS IN THE STREAM didn't get a redo by her for her Bee Gees package. I can easily hear her command it. It likely could have been revitalized, Top 10 again ... Much better redo for her repertoire than I WILL SURVIVE.

Maybe the Gibbs weren't in the habit of redos of their stuff.

[Nitro2015]

It’s interesting that the “Eaten Alive” album creates as much division regarding fans opinion as does “”Workin’ Overtime”. Personally i think both albums contain some gems.
I have gotten to like “Eaten Alive” more as the years have passed. I just wish Diana’s voice was more prominent on the song.
Sadly the album lacks a killer ballad. Its hard to understand how Diana allowed MJ voice to be so prominent on the EA track yet they never recorded a duet for the album.
An “I Just Can’t Stop Loving You” type ballad would have extended interest and provided a commercial follow up to the brilliant “CR”.

I prefer the Workin' Overtime album. It's more street and Diana sounds more like herself, without those annoying Bee Gees-type of vocals.

And I love songs like Say We Can, This House, Paradise, We Stand Together, the title track. I recognize that the production could have been better [[it sounded dated quickly by the early 1990's), but the songs are amazing.

And the songs when performed live gained new dimension.

[Bluebrock]

I had no idea the album was a rush job and that it contained unused songs from the projects of other singers. Do you know why Diana needed the album so quickly?.
“It’s Up To You” is a lovely song. What a shame it couldn’t be used for the expanded EA.
Its interesting that “CR” was the last track recorded for the project as her voice sounds comparatively revitalised on the song.

P.S...Do you Know who the original producer was meant to be?.
Yes i do. It was Michael Masser.

[Ollie9]

I prefer the Workin' Overtime album. It's more street and Diana sounds more like herself, without those annoying Bee Gees-type of vocals.

And I love songs like Say We Can, This House, Paradise, We Stand Together, the title track. I recognize that the production could have been better [[it sounded dated quickly by the early 1990's), but the songs are amazing.

And the songs when performed live gained new dimension.

I’m with you all the way on that one Nitro. Love me some WO. I think “This House” And “We Stand Together” two vastly underrated ballads from the Ross repertoire.

[Ollie9]

Yes i do. It was Michael Masser.

Well you could knock me over with a feather. Most of us had thought that after the “To Love Again” ballads she had no desire to team up with MM again. I wonder why the change of heart and what those creative differences might heave been?.

[marybrewster]

I thought i had previously explained how the Eaten Alive sessions came to be.
Barry had pursued Ms Ross on a few occasions in the early 80's to no avail. He gave a whole album to Kenny Rogers which he had intended for Ms Ross. This included Islands in the stream. He had all but given up on her when she got in touch demanding an album almost immediately. The scheduled producer had pulled out due to "creative differences". She had the studio bookèd but no songs and producer. Barry was anxious to work with her but he was unable to compose 8 new songs in around 10 days so he had to find enough material from previously submitted material along with unused material from Ms Streisand, Ms Warwick and Kenny Rogers. The sessions were rushed. The title track was finished with added input from MJ, and chain reaction which Barry originally intended for the Bee Gees. He played it to her and she begged him to produce it on her. The album was all but finished at this point, and a song had to be binned to make way for CR. They chose what was in my opinion one of the cream cuts. I think. I think it was called it's up to you. It lay festering in the vaults until Ms Streisand heard it and recorded it herself for the Barry helmed Guilty 2 project. She knew a good song when she heard it.
Barry was not happy having to rush the project through despite getting short notice help from MJ amongst others. Maurice Gibb was even more unhappy and resented Ms Ross for having repeatedly turned them down, and then a few years later demanding an album at short notice. He and Miss Ross clashed in the studio to such an extent that Barry barred him from the studio.
I personally like most of the album, but it could and would have been better had Barry been given more time tò prepare.
He would like the opportunity to produce her again, but that will not hàppen sadly.
Hope this helps.

So interesting! And makes a lot of sense in hindsight. Diana was 5 years too late. Thank you for sharing, BB.

[sup_fan]

Well you could knock me over with a feather. Most of us had thought that after the “To Love Again” ballads she had no desire to team up with MM again. I wonder why the change of heart and what those creative differences might heave been?.

i don't know the specifics but i'm a bit surprised they were working together again! I've heard Masser had some substance problems so not sure if that was a sticking point or how that might have impacted working in the studio

Masser was super hot around this time with Whitney and of course he had established a long record of hits. so he might have been less willing to compromise things. and of course Diana was heavy in her control phase so she also was probably not willing to compromise things

[Atasteofhoney]

I love eaten alive. It is cheesy as hell and a guilty pleasure in my collection, but MJ sounds so sexy and the song is such a bop. The thought of MJ singing about oral sex tingles me.

[JLoveLamar]

I thought i had previously explained how the Eaten Alive sessions came to be.
Barry had pursued Ms Ross on a few occasions in the early 80's to no avail. He gave a whole album to Kenny Rogers which he had intended for Ms Ross. This included Islands in the stream. He had all but given up on her when she got in touch demanding an album almost immediately. The scheduled producer had pulled out due to "creative differences". She had the studio bookèd but no songs and producer. Barry was anxious to work with her but he was unable to compose 8 new songs in around 10 days so he had to find enough material from previously submitted material along with unused material from Ms Streisand, Ms Warwick and Kenny Rogers. The sessions were rushed. The title track was finished with added input from MJ, and chain reaction which Barry originally intended for the Bee Gees. He played it to her and she begged him to produce it on her. The album was all but finished at this point, and a song had to be binned to make way for CR. They chose what was in my opinion one of the cream cuts. I think. I think it was called it's up to you. It lay festering in the vaults until Ms Streisand heard it and recorded it herself for the Barry helmed Guilty 2 project. She knew a good song when she heard it.
Barry was not happy having to rush the project through despite getting short notice help from MJ amongst others. Maurice Gibb was even more unhappy and resented Ms Ross for having repeatedly turned them down, and then a few years later demanding an album at short notice. He and Miss Ross clashed in the studio to such an extent that Barry barred him from the studio.
I personally like most of the album, but it could and would have been better had Barry been given more time tò prepare.
He would like the opportunity to produce her again, but that will not hàppen sadly.
Hope this helps.

Oh my goodness. Was Miss Ross speaking to Mr. Gordy? What did he think of EA? Why did she leave Motown in the first place? Had she felt overlooked? Were they not listening to her creative needs? Why won't Miss Ross and Barry work together again?

You all have no idea how much I love the song EA. It energizes me in such a way. I want to paint the town red when it comes on. I listened to it 5 times back to back, speakers BLARING, On my way to work today. I think of you all when I listen to it now.

[JLoveLamar]

The Eaten Alive album is in my top 5 favorite Diana Ross albums. Loved her with The Bee Gees. Doesn’t get any better than “Experience”. Her voice is crystal clear and beautiful.

PREACH! Experience is one of my favorite cuts on the album.

[Bluebrock]

Well you could knock me over with a feather. Most of us had thought that after the “To Love Again” ballads she had no desire to team up with MM again. I wonder why the change of heart and what those creative differences might heave been?.
Masser had "issues" which bothered Ms Ross way more than it seemingly bothered Whitney Houston. Masser was a very hard taskmaster in the studio, and we all know how Ms Ross likes to be the boss at all times. She had gotten out of the habit of being bullied in the studio and by all accounts it was a very toxic atmosphere when they met up. It's a great pity he couldn't have got himself clean. They could have made more sweet music together.

[TheMotownManiac]

Yes i do. It was Michael Masser.

yikes! You mean Saving All My Love might’ve been Ross’??

Personally I don’t care for the song, but I have no taste. Why did Michael Masser not do it?

[TheMotownManiac]

Masser had "issues" which bothered Ms Ross way more than it seemingly bothered Whitney Houston. Masser was a very hard taskmaster in the studio, and we all know how Ms Ross likes to be the boss at all times. She had gotten out of the habit of being bullied in the studio and by all accounts it was a very toxic atmosphere when they met up. It's a great pity he couldn't have got himself clean. They could have made more sweet music together.

of course, Whitney had the same issues even then. I have a friend who worked with MM and you can imagine the stories. I will share this one, the two of them were partying, and Michael told him that he wanted him to hear what he had been working on for the last week and they went to his house had a very excessive speed. When they got there, he said “now just sit down and listen to this” and he played the greatest love of all. My friend didn’t understand why Michael was playing that for him because it was already number one, but he said that Michael was such a perfectionist, that he was still putting tons of man hours into a song that had probably already gone platinum. My friend didn’t know the song all that well he didn’t really hear anything that was different from what he had heard on the radio but Michael was beaming with pride. If he’s that kind of perfectionist, I can see where there would’ve been fireworks with a certain little Miss.

[florence]

yes i do. It was michael masser.

o m g!!!!!

[florence]

Fascinating divergence of opinions on the Eaten Alive album.

imo I'm Watching You is nothing more than a pleasant little album track.

My favourite tracks from the album are Chain Reaction [[obviously!) THE 1986 dance floor filler in the UK, [[I Love) Being In Love With You, Crime Of Passion and Don't Give Up On Each Other.

It would certainly be interesting to hear Diana's version of It's Up To You - the song sounds to me like it would have made a much better follow-up to CR in the UK than Experience although they unquestionably missed a trick with Crime Of Passion.

[Bluebrock]

Fascinating divergence of opinions on the Eaten Alive album.

imo I'm Watching You is nothing more than a pleasant little album track.

My favourite tracks from the album are Chain Reaction [[obviously!) THE 1986 dance floor filler in the UK, [[I Love) Being In Love With You, Crime Of Passion and Don't Give Up On Each Other.

It would certainly be interesting to hear Diana's version of It's Up To You - the song sounds to me like it would have made a much better follow-up to CR in the UK than Experience although they unquestionably missed a trick with Crime Of Passion.

Crimes of passion was the obvious follow up. It had hit written all over it. Experience is a lovely song but it was never going to be a major hit.

[Bluebrock]

of course, Whitney had the same issues even then. I have a friend who worked with MM and you can imagine the stories. I will share this one, the two of them were partying, and Michael told him that he wanted him to hear what he had been working on for the last week and they went to his house had a very excessive speed. When they got there, he said “now just sit down and listen to this” and he played the greatest love of all. My friend didn’t understand why Michael was playing that for him because it was already number one, but he said that Michael was such a perfectionist, that he was still putting tons of man hours into a song that had probably already gone platinum. My friend didn’t know the song all that well he didn’t really hear anything that was different from what he had heard on the radio but Michael was beaming with pride. If he’s that kind of perfectionist, I can see where there would’ve been fireworks with a certain little Miss.

He was indeed a perfectionist. An immensely talented guy but a very controlling personality who made almost as many enemies along the way as Ms Ross did. Their working relationship in the 70's was fraught enough. I can just imagine the fireworks in the 80's when she was free from Gordy"s control.
I shudder to think what the sessions with Whitney were like. I would love to have been a fly on the wall in that studio!

[daviddh]

Thanks Bluebrock.
Never knew that story before.
Now it makes sense .

[JohnnyB]

Thanks Blue rock.
Never knew that story before.
Now it makes sense .

Just speculating, but I wonder if the success of Missing You, a ballad, led to Diana deciding to revisit Michael Masser’s production work. What might have been...

[Bluebrock]

Just speculating, but I wonder if the success of Missing You, a ballad, led to Diana deciding to revisit Michael Masser’s production work. What might have been...

I think you have a valid point. Lionel was too busy to do a full album with her. Masser was probably the obvious choice to deliver a classic Diana Ross ballad. If only they could have put their differences aside. We could have had another quality album to enjoy over the next 40 years.

[sup_fan]

when were Masser and Diana trying to arrange something? makes you wonder if some of the hits he ended up doing with Whitney were intended for Diana. Masser and Whitney started with Hold Me which was released in spring 84, one month prior to All Of You being released.

[reese]

when were Masser and Diana trying to arrange something? makes you wonder if some of the hits he ended up doing with Whitney were intended for Diana. Masser and Whitney started with Hold Me which was released in spring 84, one month prior to All Of You being released.

Re-reading Bluebrock's post re the rush of EATEN ALIVE, it sounds like it would have the Ross/Masser reunion would have taken place sometime in 1985.

I just wonder what happened to make working with Masser again so attractive, yet ultimately unbearable. For Diana to pull out of the project with a studio already booked and a tight deadline looming, and then to expect new songs from the Gibbs in 10 days? It must have been something serious.

[sup_fan]

and if she needed something so quickly from Gibb, i would assume that work with Masser must have been quite a ways along. potentially partially completed songs. certainly there would have been some tracks already prepared, maybe even initial or demo recordings?

[Guy]

I just wonder what happened to make working with Masser again so attractive, yet ultimately unbearable. For Diana to pull out of the project with a studio already booked and a tight deadline looming, and then to expect new songs from the Gibbs in 10 days? It must have been something serious.


One guess....

https://imgix.ranker.com/user_node_img/50040/1000797312/original/young-whitney-houston-in-black-lowcut-dress-photo-u1?w=650&q=50&fm=pjpg&fit=crop&crop=faces

[nomis]

The Masser tracks with Houston -

Saving All My Love [["Whitney Houston" LP)
All At Once [["Whitney Houston" LP)
Greatest Love [["Whitney Houston" LP)
Hold Me [["Whitney Houston" LP)
Didnt We Almost [["Whitney " LP)
Your Still My Man [["Whitney" LP)
After We Make Love [["Im Your Baby Tonight" LP)

[Guy]

I think you have a valid point. Lionel was too busy to do a full album with her. Masser was probably the obvious choice to deliver a classic Diana Ross ballad. If only they could have put their differences aside. We could have had another quality album to enjoy over the next 40 years.

Ross had recorded "Hold Me" for Silk Electric then she hears that fresh, young, dynamic voice singing the duet recording. She hears the buzz on Whitney, knows that she's Clive Davis' priority and that he has locked up Masser to produce half of her album. I bet that made her think twice about whether she could endure his shenanigans to keep this new girl off her turf. Otherwise, I don't know why she'd agree to collaborate with him again.

I hear he was hard on Whitney too. But she was young and new and could sing the whole house down, so it worked.

[khansperac]

I have to wonder if some are making this Ross/Masser thing more than it is. The same reported issues with Masser she had with him, others did as well. Also it’s not like she decided to work with him after decades of not wanting to. It had only been 4 years since “It’s my turn”. During those years she wanted to try something new. I say it’s no big deal. Also, it should be noted that she had kind things to say about him when he passed.

[SatansBlues]

Who did Masser work post Diana/80 and pre WH/84? That's a good 4 year gap.

[reese]

Who did Masser work post Diana/80 and pre WH/84? That's a good 4 year gap.

Dionne Warwick, Natalie Cole, Peabo and Roberta, and some others.

[reese]

Ross had recorded "Hold Me" for Silk Electric then she hears that fresh, young, dynamic voice singing the duet recording. She hears the buzz on Whitney, knows that she's Clive Davis' priority and that he has locked up Masser to produce half of her album. I bet that made her think twice about whether she could endure his shenanigans to keep this new girl off her turf. Otherwise, I don't know why she'd agree to collaborate with him again.

I hear he was hard on Whitney too. But she was young and new and could sing the whole house down, so it worked.

Maybe. But by the time Diana would have been recording with Masser again, Whitney had only had two hits with him: HOLD ME and SAVING ALL MY LOVE FOR YOU. It may have been a bit early for Diana to be thinking of Whitney as competition yet.

[daviddh]

why didnt she return to Ashford and Simpson, they did great stuff as well.

[nomis]

why didnt she return to Ashford and Simpson, they did great stuff as well.

maybe Val & Nick were focused on their own career at this period..they had just scored a massive world wide hit with the brilliant "Solid"

[Atasteofhoney]

How I want to be in that car with you right now.