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There were a few released. Obviously GH and then Evening With
Do you think others might have worked? We know the plan was for R&H to be a double album
What if Cream of the Crop was a double album combining part studio and parts from Farewell [[which was already a double album lol). Neither did especially well but would combining have helped?
What about one of Diana’s? Donna Summer was having huge success with it. Could one have worked w her?
One did work for Diana, big time—the Lady Sings the Blues soundtrack, her only solo #1 album.
The Wiz was also a double album. True, it's a cast album, but she's heavily featured.
I believe Ceasar's Palace was also originally intended to be a double album.
Of Diana's studio albums from the 70s, I think only The Boss had potential as a double album, and that would be following the success Donna was having with doubles. Now if the Ross 78 album really was originally concepted as a dance album, producing it as a double may have made sense and been successful.
Even though I think the double album concept wasn't much of a thing beyond greatest hits collections in the 80s, I could see RHRAB being a double lp. Perhaps one lp would be all original cuts that actually fit the title description, and the other lp would be covers, possibly the soundtrack to the television special.
The 70s Supremes...I actually would love to have known what a double lp Floy Joy would have contained. Perhaps the Touch album, with the title This Is the Story, could've been a double lp that told a love story. The potential Stevie lp seems like the most likely candidate.
Greatest Hits and Rare Classics was also originally a double album. There are several posts/ treads featuring Mr. George why that did not happen, and what tracks were left off.
That was a great thread from George. I've periodically reposted it here just to keep it activeQuote:
Originally Posted by marybrewster
Diana's US Greatest Hits probably could have been a double album. maybe include a few live tracks, an alt version or a few canned tracks.
And good call about the planned Stevie album. i could definitely see that. especially if BW had been a success. had it been so and the group's popularity rebounded, it could have been an interesting experiment.
Diana Ross’ latest album “Thank You” is a double album.
Oh? Was there a special edition with a second disc included?Quote:
Originally Posted by vgalindo
I think it was released as a double album on vinyl [still only 13 tracks] :)Quote:
Originally Posted by Spreadinglove21
https://www.discogs.com/release/2086...Ross-Thank-You
Thanks for the info!Quote:
Originally Posted by TomatoTom123
Donna Summer and Stevie were able to get double albums because they had material to fill them. I don’t think Diana ever had enough material to make a double album. Her 1976 greatest hits album could have been a double album and might have been spectacular if it was done well. You could add surrender and reach out I’ll be there and do we didn’t do be and I’m still waiting and brown baby, a couple from Marvin and Diana like just say just say or pledging my love or my mistake. I think it would’ve been better as a two album set as it was pretty chintzy if I remember correctly there was only 10 cats on it and it included the short versions I’d love hangover and ain’t no Mountain high enough. If I remember correctly.
The 1976 GREATEST HITS album had the full-length AIN'T NO MOUNTAIN HIGH ENOUGH and LOVE HANGOVER. It also had different versions of I THOUGHT IT TOOK A LITTLE TIME and ONE LOVE IN MY LIFETIME than what had been released on the DIANA ROSS album.Quote:
Originally Posted by TheMotownManiac
in 77 or so, diana was talking about recording a bunch of things to have at the ready for while she was tied up with The Wiz. She mentioned one album would be disco and one for making love. i guess she was sort of referring the content that Perry recorded [[making love??) and then the disco tracks on Ross, plus the material left in the vaults.
now i agree that much of the disco tracks she was recorded at this time were really not up to par. but obviously LH with Hal was strong and the work with Greg Wright [[never say and You Were The One). a double album with the set up sort of like the Sups' HE. one side is disco, the flip is slower.
I really wish that Diana Ross & The Supremes Greatest Hits Japan CD4 Quad had been released as a double album. I would love to hear how Where Did Our Love Go, Baby Love, Ask Any Girl, Come See About Me, Stop! In The Name Of Love, Back In My Arms Again, Whisper You Love Me Boy, Nothing But Heartaches, Love Is Like An Itching In My Heart, There's No Stopping Us Now, Reflections and The Composer would sound with the same kind of quadraphonic mixing that was done for the songs that were released on that album. I'm sure at this point that will never happen, but that would have been a dream come true.
Speaking of Mr. George, I found this tidbit in another thread, from him:Quote:
Originally Posted by sup_fan
One more note of interest...Many have wondered why Diana Ross and The Supremes Superstar Series featured eight Supremes on the cover but the music was all from the sixties. Andy and I just found the original LP master and side two originally featured songs from the seventies era, so all of the ladies would have been represented. We have no idea why they changed it at the last minute. Another Motown mystery!
The vinyl version was a double LP. There are 13 songs. Which is a good amount. Diana Ross has released many albums with only 8 songs.Quote:
Originally Posted by Spreadinglove21
Quote:
Originally Posted by reese
you are right! It had the short version of touch me in the morning, and the single version mixes of one love in my lifetime and I thought it took a little time.
It also had the long version of TMITM. :DQuote:
Originally Posted by TheMotownManiac
[QUOTE=sup_fan;706633]There were a few released. Obviously GH and then Evening With
Do you think others might have worked? We know the plan was for R&H to be a double album
I thought A Go Go was conceived as a double LP. There certainly was enough material for it.
Touch Me In The Morning would have made for a stylish double album. They could have used the songs recorded for the shelved To The Baby project which would have been perfect.
hmmm that's an interesting idea. You could have added a few more Blue tracks too, maybe extended a song or two also.Quote:
Originally Posted by Ollie9
I think certain songs from Blue might also have been added. It would have made for a stylish, sophisticated blend of pop/r&b/jazz. Her very own “Songs In The Key Of Life”. :cool:Quote:
Originally Posted by sup_fan
your last point is very important actuallyQuote:
Originally Posted by Ollie9
Stevie and Marvin get all of this credit for making such amazing artistic statements with SITKOF, WGO, Let's get it on and others. The artistic statement Diana made with the Lady work and jazz is just as demanding and just as groundbreaking in terms of artistic growth as anything SW has ever done.
True she got a #1 album and an Academy Award nomination. but not the overall music industry recognition that Stevie or Marvin carry today
Frankly i hate nearly all of Stevie's work. the tone of his vocals isn't appealing to me, the sound with all the synthesizers is not my taste. I detest You Are the Sunshine of My Life as one of the worst songs ever - the lyric is just insipid and the whole thing annoys me to no end. yet i can still appreciate how his music was revolutionary at the time and is important. Just like i don't mind the nasality of Diana's vocals, i don't like Stevie's for the most part. personal opinion determines what you do or don't listen to but it doesn't cast full judgement on the artistic merit of a performer or their cannon of work.
the gen pop and the industry discount DR too much
The big difference being Stevie writes and produces his own albums and acts as producer for other artists.Quote:
Originally Posted by sup_fan
Although LSTB made the music world sit up, wrongly or rightly it never had the same impact of “ What’s Going On” or “Innervisions”
I'm done with Supfan. I let him have his moments when it comes to his disdain for Smokey Robinson compositions, but I draw the line at his attitude toward Stevie. I think this is a blockable offense and I encourage the rest of the forum to put him on ignore, ice him out. He does not belong here.:cool:Quote:
Originally Posted by Ollie9
But seriously, I will say, that while I don't view Diana as any less of an artist as Stevie because he has other facets of his talent that she may not possess [[and vice versa), for me there's no comparison in Stevie's works during the 70s and Diana's. With Lady Sings you have her recording someone else's already established works. Unlike with some previous work, like the Sam Cooke sessions, the R&H sessions, the FG sessions, where Diana [[and group) could be categorized as re-interpreting previously recorded songs, with Lady Sings, the point was get as close to Billie Holliday as Diana could. Sure, she still Diana'd the songs, but clearly she was trying to get her phrasing and such to mimic Lady Day as opposed to taking those same songs and putting her own spin on them, like she does with cuts from Blue.
I do think had TMITM been fleshed out into a two album set [[and not including the baby theme, which I think was a bad idea), it very well could have been her What's Going On or Songs In the Key of Life. I really think the only reason why it isn't viewed that way as is, is because [[a) she didn't write any of the songs, and unfortunately people view singer/songwriters as being greater than interpreters of song, [[b) perhaps too many covers, [[c) only one single and really nothing else on the album that could've matched or surpassed the success of the title cut, [[d) it's a mood album. WGO works because it was so relevant. Key works because from start to finish the vibe is everywhere and everything. TMITM is a soak in the tub with a glass of wine after a hard day's work type of album. It just doesn't hit the same.
But I'd love to see the album get more of the respect it deserves.
Haha ran. I found another topic to nag you on! While there are a few SW songs I like, yes for the most part I don’t follow his music or career. It has just never clicked w me
But I will disagree with you on Ross and Lady. She wasn’t doing a mimicry. There are a few spots where she really is quite similar but for the most part she is making the tunes her own. Jazz is a challenging genre to tackle and to tackle well. Even Randy states that she didn’t copy but embodied the spirit of Lady Day. The soundtrack IMO is a bit marred by all of the snippets of audio and dialog from the movie but I get it. Frankly you could have combined her songs from the movie on LP 1 and then the Blue tracks on LP 2 and had a double album masterpiece
Both “Innervisions” and “FFF” are still considered to be two of the finest albums ever made. Stevie wrote the lyrics, planned the concept and played virtually all the instruments on those albums. Marvin’s WGO” was a groundbreaking album in every way.Quote:
Originally Posted by RanRan79
It’s not hard to understand how those artists might get more kudos over a singer that turns up, sings the songs given then goes home again.
Diana did a fine job in interpreting those BH songs, for the most part making them her own which is no easy feat. As you say, the huge difference being she was interpreting another artists work which in the case of BH had been done many times before.
Stevie And Marvin were about creating new and innovative pieces of work that still have a massive influence on the sound of r & b even today. One can’t compare.
Those fellas- two of my all time favs- certainly put in the work. I'd argue that Diana's job as an interpreter of song is even harder than that of a singer/songwriter. [[Harder does not always mean more work. Multi-tasking, like Stevie does, is a lot of work, surely more than any singer who only concentrates on singing has to do. But more work doesn't always equal harder job either.) When you write and produce your own music, you understand everything that goes into the song and/or album from the jump. There's no one to tell you to do it this way or that, even though your heart feels it another way. Not that the singer/songwriter has an easy job, of course. But Diana- and other singers- have to take someone else's work and figure out what the lyrics convey, etc. And Diana- and other singers- have someone directing them- the producer- and this can be challenging. Someone like Stevie doesn't have to figure out what a song is saying. He wrote it, he knows it, he goes in and works on it. He also had the leisure of being able to go where his heart said to go. Diana had to either sing it the way she's told or compromise with the direction of a producer, in the event she was not allowed total artistic license with her vocal approach.Quote:
Originally Posted by Ollie9
Tweaking the TMITM tracklist- as well as potentially expanding the album to a 2 record set- with the right combination of songs, the album could have had as major of an impact as Marvin or Stevie's albums. She would not have had to have written and produced the album for it's impact to be huge. Marvin and Stevie's popularity with the general public had little to do with the fact that they wrote and produced their own stuff. The shit was good and the public ate it up. They didn't care if Marvin and Stevie wrote it or anybody else. During that same period, countless other singer/songwriters put together albums- some great, some horrible- that the public didn't give a shit about because it didn't move them.
TMITM was a personal album for Diana. She was, if I recall, involved with it's concept. It was a very successful album for her and I really believe an expanded tracklist and major promotion of how personal the album was for her, would have gone a long way in putting the album in the conversation of the masterpieces of the decade.
Diana Ross singing Lady Sings the Blues does not sound much at all like Diana Ross that had recently released her debut album, EIE and Surrender. She had to try to sing like Billie. Nobody wanted to watch the Billie Holiday story and hear "Baby Love" bleeding through. Everybody involved was smart enough to recognize that. The phrasing and enunciations she used for the soundtrack wasn't anything she did before. She picked that up from Billie. There's no mistaking the voice of Diana Ross for Billie Holiday ever, but it's clear to me that when she went into the studio to record those songs, she wasn't trying to sound like her normal self. What we ended up getting was a Diana Ross heavily influenced by Billie Holiday album, and the public ate it up.Quote:
Originally Posted by sup_fan
I do agree that the album's big negative is the snippets from the movie. They should have only included the actual vocal cuts as well as other songs of Billie's not featured in the movie, sung by Diana.
The TMITM album is just sensational and a wonderful package. Fortunately it sold and charted very well. I do agree w the ideas on here of it potentially working as a double album set. Even though LSTB had been a double set already. The cover is stunning and just perfectly represents the content inside. But imagine it as a double lp and the gatefold opportunity for more graphics.
You could have easily interwoven the To The Baby tracks throughout and it wouldn’t have been “ok here’s lp 1 which is TMITM and here is a totally separate album 2 w this baby stuff that we’re shoving in here!
You could have used the additional graphic space to highlight her new young family. It could have been really a landmark album
But as it is Motown seemed to have just dropped it after the first single. The raced onto the infinity inferior duet work and the lame Caesar album. No to mention the spotty Last Time album. I love the song LTISH but they could have held that for a year. Milk the TMITM set for all this worth. Then do the duets. Then start fresh with this country pop sound and Last Time
I would keep all of the original album with two exceptions: "Little Girl Blue" and "Imagine". As beautiful as LGB is, it sounds more fit for Lady Sings [[and of course was recorded for Blue). I hate the song "Imagine". I would've added "Part of You", "First Time Ever I Saw Your Face", "Got to Be There" and "To the Baby". From there I would've padded it out with original songs inspired by wherever Diana's head and heart was at the time, minus more motherhood stuff.
i would see about potentially extending a few songs a bit. with the luxury of a double album, you could pad some of the tracks just a bit
touch me in the morning
all of my life
we need you
little girl blue - i so disagree with you on this one lol but i know you've said before this isn't a fav of yours. it is mine, amazing song and amazing rendition
got to be there
the first time ever i saw
young mothers
leave a little room
kewpie doll
smile
to the baby
Brown baby [[longer version by itself)
imagine/save the children
my baby my own
I won't last a day without you
part of you
a wonderful guest
turn around
But beautiful
instrumental TMITM and maybe layer in a bit of vocal to make this sort of a bookend to Track 1 Side 1
basically if you just play with some of the fades and allow them to linger a little longer, you could take all of the EE [[minus When We Grow Up) and add in a couple Blue songs and have a great double lp
i might have to make this one up myself as a playlist lol