Wrong Lead Single - Ross lps

**sup_fan** · 03-22-2016, 10:13 PM

in Randy's latest book with the wonderful discography by George Soloman, several of Diana's lps seem to have been hurt by the selection of the wrong lead single. So what do you think SHOULD have been the lead?

Working Overtime - should have issued Bottom Line
Force Behind the Power - i know the international single was When You Tell Me, but US went with title track. i think Change of Heart might have worked better
Eaten Alive ?
Take Me Higher?
Ross 83?
Ross 78?

**sansradio** · 03-23-2016, 12:34 AM

For Ross '78, unequivocally "You Were the One."

**reese** · 03-23-2016, 09:58 AM

I don't mind many of the lead singles of her Motown albums. But off the top of my head, I think having YOU'RE A SPECIAL PART OF ME as the lead single off the DIANA AND MARVIN album was a bad choice, even though it charted well. I would have gone with MY MISTAKE.

Re ROSS '83, I might have gone with LET'S GO UP or LOVE OR LONELINESS instead of PIECES OF ICE.

Re EATEN ALIVE, I definitely would have gone with CHAIN REACTION.

**Bluebrock** · 03-23-2016, 11:02 AM

I think I agree with Reese regarding ROSS 83 and EATEN ALIVE singles. Whoever decided that "pieces of ice" could be a major hit single? "chain reaction" could have been as big in the States as it was in the UK if promoted correctly and released as the ist single.

**Guy** · 03-23-2016, 11:21 AM

Originally Posted by sansradio

For Ross '78, unequivocally "You Were the One."

OMG. To this day, don't know how this song was not a massive hit. Funky groove with enough MOR flavor for radio. That silky voice crescendoing in her uniquely Ross exuberance. I still listen to it all the time: "you were bringing me the sun AND the moon!"

**Bluebrock** · 03-23-2016, 12:28 PM

Originally Posted by Guy

OMG. To this day, don't know how this song was not a massive hit. Funky groove with enough MOR flavor for radio. That silky voice crescendoing in her uniquely Ross exuberance. I still listen to it all the time: "you were bringing me the sun AND the moon!"

I have to agree Guy, but Diana was going through a "quiet" period before "the boss" got her back on track, but that still does not explain why "you were the one" didn't get the nod.

**soulster** · 03-23-2016, 12:49 PM

[QUOTE=reese;328606]
Re ROSS '83, I might have gone with LET'S GO UP or LOVE OR LONELINESS instead of PIECES OF ICE.

I'm going to go with a radical opinion here. For the lead single from the 1983 "Ross" album, I would have picked "That's How You Start Over", and "Pieces Of Ice" second. But, remember, 1983 was when the second British Invasion was in full swing in the U.S., and the idea was to put out new-wavish sounding songs, so "Pieces Of Ice" was a very logical and good choice.

1983 was also the year when many other traditional R&B artists releases blatant pop singles to cash in on the sound. Dick Griffey did this for Shalamar by issuing "Dead Giveaway" that year. His purpose was for the very survival of his label, Solar. He never had to worry, though, because he had later success with The Deele, Klymaxx, and Lakeside. Of course, you all don't care about any of that...

**sansradio** · 03-23-2016, 02:00 PM

Originally Posted by Guy

OMG. To this day, don't know how this song was not a massive hit. Funky groove with enough MOR flavor for radio. That silky voice crescendoing in her uniquely Ross exuberance. I still listen to it all the time: "you were bringing me the sun AND the moon!"

I couldn't have stated it better. She really is at the top of her game here. Not to mention the glorious contributions of The Jones Girls.

**captainjames** · 03-23-2016, 02:06 PM

I have constantly said that, "You Were The One" was the hidden hit.

**TheMotownManiac** · 03-23-2016, 02:07 PM

Working Overtime - Bottom Line [[Original LP mix), Paradise, Workin Overtime, Keep On Dancin
Force Behind the Power - When You Tell Me was correct, but not worked by Motown. The only others with a slim chance: Battlefield, You're Gonna Love It
Eaten Alive Chain Reaction, then Crime Of Passion, then Eaten Alive with new, UNDERSTANDABLE, lead vocal, then Don't Give Up [[recorded in new, lower key)
Take Me Higher- If You're Not Gonna Love Me Right, Gone, Don't Stop [[EMI mix) I Will Survive
Ross 83 - Up Front, That's How You Start Over
Ross 78- Never Say, You Were The One, Where Did We Go Wrong
Swept Away - Missing You, Touch By Touch, Swept Away, Nobody Makes Me Crazy
Red Hot Rhythm & Blues - either Summertime or just forget the entire, useless attempts
Silk Electric- Muscles, Love Lies, In Your Arms, Who
The Boss- No One Gets The Prize, The Boss, I Ain't Been Licked
Baby It's Me - Come In From The Rain, Top Of The World, Same Love That Made Me Laugh, Baby its Me,

**rovereab** · 03-23-2016, 02:45 PM

Everything Is Everything's lead single - My Place

**bradsupremes** · 03-23-2016, 05:49 PM

"Top Of The World" and "You Got It" should have been the lead singles on Baby It's Me. Those scream hits to me.

**daviddh** · 03-23-2016, 07:14 PM

most of the singles I agree with but, Eatin Alive , I would have went with Chain Reaction.,Crimes Of Passion.
Ross 78... You Were The One, Never Say I Don't Love You.
Ross 83... That's How You Start Over....Pieces Of Ice

**Jimi LaLumia** · 03-23-2016, 07:49 PM

I love Miss Ross, but I knew someone who worked at RCA at the time, and I think she had turned off the sales reps and promotion people big time in no time at all.. My friend Kim told me at the time that when she would arrive at RCA, staff was told to 'not make eye contact' with Miss Ross... I love her, but she really knew how to sabotage her own party sometimes, and she seemed to forget that she was no longer at Motown, and Berry was not going to fix everything.. and I'm not hating, everyone knows I'm a Ross fan..just keeping it real.. if you didn't have the sales staff and promo people on your side at a major back then, you were ****ed!

**daviddh** · 03-23-2016, 09:57 PM

just don't get that ,don't make eye contact thing with some people, but hey what goes around ....

**sansradio** · 03-23-2016, 10:00 PM

Originally Posted by daviddh

just don't get that ,don't make eye contact thing with some people, but hey what goes around ....

One theory holds that the rule was a defense mechanism for her post the John Lennon murder; celebrities were really shook after that tragedy. I still find it odd.

**soulster** · 03-24-2016, 03:58 AM

Originally Posted by daviddh

just don't get that ,don't make eye contact thing with some people, but hey what goes around ....

That's what I was just thinking! She's not the only one, but she is the most infamous for that. Prince is another prima-donna who doesn't want eye-contact.

**Bluebrock** · 03-24-2016, 07:58 AM

Originally Posted by Jimi LaLumia

I love Miss Ross, but I knew someone who worked at RCA at the time, and I think she had turned off the sales reps and promotion people big time in no time at all.. My friend Kim told me at the time that when she would arrive at RCA, staff was told to 'not make eye contact' with Miss Ross... I love her, but she really knew how to sabotage her own party sometimes, and she seemed to forget that she was no longer at Motown, and Berry was not going to fix everything.. and I'm not hating, everyone knows I'm a Ross fan..just keeping it real.. if you didn't have the sales staff and promo people on your side at a major back then, you were ****ed!

You are correct Jimi. She alienated the staff at RCA to such an extend that they no longer gave a hoot how successful her music was.
A few years later when I worked with her at EMI UK she had thankfully mellowed and seemingly learnt her lesson. For the most part she was charm personified and it even got to the stage when even non fans looked forward to her visits. She brought gifts, asked after peoples families and it was a great place to work. As a result we bent over backwards to promote her material even though I was sometimes overruled over the choice of singles to release.

**Jimi LaLumia** · 03-24-2016, 09:12 AM

that's good to hear... she was riding so high in the 60's and the 70's and as many close to her have said, she became what Gordy basically commanded her to become and that worked at Motown.. but then the Gordy experiment went too far, and she thought all rights and privileges would extend to other labels.. nuh uh..

**Jimi LaLumia** · 03-24-2016, 09:15 AM

having spent time at his MainMan management company in the early 70's, I heard that the first thing David Bowie did when RCA signed him for America, was to take all the label secretarial staff and office workers to a huge , quite grand lunch in Manhattan.. whatever the motivation, a VERY smart man!!

**Bluebrock** · 03-24-2016, 11:44 AM

Originally Posted by Jimi LaLumia

having spent time at his MainMan management company in the early 70's, I heard that the first thing David Bowie did when RCA signed him for America, was to take all the label secretarial staff and office workers to a huge , quite grand lunch in Manhattan.. whatever the motivation, a VERY smart man!!

Mr Bowie was a smart cookie for sure!

Miss Ross did treat us to a couple of swanky meals . Jimi, you got it spot on when you said she could call all the shots at Motown knowing full well she had the backing of Gordy. Once she left Motown her influence was not the same and it took her a while to realise she could not act the big diva anymore. She even poked fun at her reputation during relaxed periods and I look back fondly on the period from 1988 to 1999 when rarely a few months went by without us working together.

**marybrewster** · 03-24-2016, 01:45 PM

Wasn't "Chain Reaction" released twice in the States?

I'll never figure out why it never connected over here; I seem to recall it was huge in the UK. With it's Motown/Supremes-like vibe and Bee Gees in the background, it was a sure fire hit, much like "Heartbreaker" was for Dionne just a few years earlier.

I still to this day think it's one of Diana's best videos.

**Jimi LaLumia** · 03-24-2016, 01:52 PM

as mentioned above, if you've turned off the label people, you can forget about it..ESPECIALLY RCA!! have i got stories..

**sup_fan** · 03-24-2016, 02:59 PM

I think a lot of it was due to the time.

1. she was under pressure to prove that her decision to leave Motown wasn't a mistake
2. she was always a perfectionist and in her quest to make everything as perfect as possible, perhaps she sometimes wasn't as nice as she could be
3. she's a gifted performer but not necessarily a gifted entertainment manager. just because she'd be in the business for 20 years didn't mean she knew what was best for her career. just like a doctor shouldn't be the one prescribing his own medicine...
4. the 80's female exec phenomena - this is maybe just hypothesis. but think back to that era. it was the first time women were ever really in positions of corporate power in the US. across many industries and companies, women felt compelled to prove themselves, be able to compete in a "man's world" and come across just as decisive as their male counterparts. shoulder pads which made them look like they're built like a man. being a "bitch" so that you didn't appear weak. etc
5. reinvention - IMO Diana didn't continue to reinvent herself in the 80s. she was basically still blamour: Black Glamour. in the early 70s, she was sequin Diana, then Lady Day, then disco, then the Chic influenced early 80s woman. by mid 80s there were newer, prettier, bigger singers coming on. there was Madonna and others.

**reese** · 03-24-2016, 03:33 PM

Originally Posted by marybrewster

Wasn't "Chain Reaction" released twice in the States?

I'll never figure out why it never connected over here; I seem to recall it was huge in the UK. With it's Motown/Supremes-like vibe and Bee Gees in the background, it was a sure fire hit, much like "Heartbreaker" was for Dionne just a few years earlier.

I still to this day think it's one of Diana's best videos.

Yes, twice. First in late 1985, when it reached a sad #95 on the chart. I was honestly surprised that such a good record would chart so low.

Then in early 1986, Diana performed the 12-inch version when she hosted the American Music Awards. Perhaps thinking they could repeat what had happened the year before [[when the MISSING YOU video was shown on the AMAs and made the single hit the Pop Top 10), RCA released an edit of the 12-inch version of CHAIN REACTION as a single. It did slightly better than the original release, but still only reached #66.

**sup_fan** · 03-24-2016, 05:17 PM

have been listening to a few of her 80s tracks. Paradise from Workin' Overtime wasn't too bad of a song. a little monotonous in the lead vocal but the backing track is pretty good. I still think Bottom Line should have been lead single. then Paradise as second [[and not combined with This House which i don't think is strong)

From the Eaten Alive set, Crime Of Passion is strong. maybe Chain Reaction as first single then Crime as second.

Also Touch By Touch should have been the follow up to Missing You. not Telephone

**soulster** · 03-25-2016, 03:27 AM

Originally Posted by sup_fan

Also Touch By Touch should have been the follow up to Missing You. not Telephone

But, "Telephone" tested much stronger with R&B audiences. That's why it was next.

**Jimi LaLumia** · 03-25-2016, 05:35 AM

the songs during the RCA years were not exactly 'classics' material... it was a big mistake to leave Motown, as it was for many

**florence** · 03-25-2016, 07:29 AM

Originally Posted by Bluebrock

As a result we bent over backwards to promote her material even though I was sometimes overruled over the choice of singles to release.

What did you have in mind as singles during the 90s?

Promise Me You'll Try was a Japan only release - I don't think it ever appeared at all in the UK - and although it was only a minor hit there I think it was worth a shot in the UK. It has a Stock Aitken Waterman feel to it.

**florence** · 03-25-2016, 08:13 AM

Coming from the UK, it's very hard to judge what would hit big in the US but you do have to wonder what would have happened had Chain Reaction been the lead single from Eaten Alive.

With the Michael Jackson connection there was never any doubt EA would be the choice but for me it was one of her worst singles ever - a complete mess and a cacophany of sound.

It more or less killed off the album and any future singles from it although at least the good people of Boston and Cleveland recognised a great song when they heard it!

Fortunately they did get it right with Upside Down from Diana - I believe several tracks were considered before deciding on it.

I stand to be corrected but wasn't Change Of Heart issued as the first single from Force Behind The Power in the US but was then pulled quite quickly to concentrate on When You Tell Me?

Certainly as regards the UK When You Tell Me was the obvious choice and slick marketing ensured it was an instant hit, going on to be one of the top 20 selling singles here for 1991.

Force was full of classic pop songs but although many regarded Change Of Heart highly I didn't think it was one of the album's stronger tracks.

Obviously you can just never predict what will catch on with the public with any certainty but for the UK I stongly believe they should have gone with Never Say I Don't Love You from Ross '78. One of Diana's most beautiful ballads ever.

One of the odd things about Diana's career in the UK was that in the 70 her ballads were the bigger hits, then in the 80s up tempo numbers did better while in the 90s it reverted to ballads being bigger again.

At the time I was convinced Experience would be a good sized hit in the wake of Chain Reaction but in retrospect it really should have been Crime Of Passion.

It was really in spite of RCA rather than because of them that Reaction went massive here. It broke in the clubs and discos, garnering enough sales to make the top 75 at which point it got stocked in the big multiples with immediate ccess to the public. As with the parent company RCA seemed to have given up on Diana.

For about four months at the beginning of 1985 RCA made several attempts to break Mising You and although it eventually knocked about just outside the top 75 for over 2 months the British Public for some strange reason given Diana's enduring popularity, was resistant to it. This seemed to be the end of any marketing for Diana here.

Had they put the same amount of effort into Touch By Touch the year before it could have hit big - it just missed the top 40 with minimal effort from RCA.

Pieces Of Ice was a brave experiment but I can't believe anyone could have thought it would hit big, should have gone with Up Front. By the time it was released Ross 83 was dead.

**Ollie9** · 03-25-2016, 09:58 AM

I Think "So Close" and "Upfront" the worst choice for single release ever. Not a Chance either would have hit big.
I really don't think there were any potential hits on ross 83, and "Chain Reaction is the only song from E.A that had any real chance as a single. "Shine" from RHRAB had potential if given a push.
Every Day Is A New Day was stuffed full of potential hit singles, if only in Europe. "Until We Meet Again [[remix) and "Free I'm Gone" being just two....Alas Diana had her eyes on making big bucks with the RTL tour, so the album was kicked to one side....Hmmm.

**soulster** · 03-25-2016, 12:51 PM

Originally Posted by florence

Pieces Of Ice was a brave experiment but I can't believe anyone could have thought it would hit big, should have gone with Up Front. By the time it was released Ross 83 was dead.

Here in the U.S., "Pieces Of Ice" got up to #31 on Billboard's Hot 100 Singles chart, still respectable at the time. "Muscles" got to #10. Go figure...

The 1983 "Ross" album is considered a favorite by non-Ross fans.

**Bluebrock** · 03-25-2016, 02:43 PM

Originally Posted by florence

What did you have in mind as singles during the 90s?

Promise Me You'll Try was a Japan only release - I don't think it ever appeared at all in the UK - and although it was only a minor hit there I think it was worth a shot in the UK. It has a Stock Aitken Waterman feel to it.

When i came on board the first album i had to promote was Workin overtime". It was a dream job for me but i did not like this album and still don't. My choice for 1st single was "paradise" with "bottom line" my 2nd choice. Many arguments ensured and eventually the title track was given the nod. I met Diana for the 1st time and she went on the Wogan show whilst she was on tour to promote the album. I found her to be very cordial but a little distant initially but we bonded when she asked me for an opinion of the album. I was tactful but admitted it was not one of her best . She started laughing and said she didn't like it either. She point blank refused to perform the title track which was her new single and instead sang "this house" which became the folow up single [[another mistake in my opinion. Diana thought it to be her weakest album since "everything is everything".
However did get my way with the singles from "force behind the power" and Diana herself was happy with the choices saying we knew how to promote her far better than the States did!
As regards "take me higher" i wanted "if your not gonna love me right" as the 2nd single but was overuled by nameless people who wanted the beautiful but uncommercial "gone". A mistake in my opinion but she performed it beautifully on Pebble Mill At One.
The voice of love compilation was Diana s idea and she compiled the album. I would have chosen some different songs but it was her baby and she did lots of promotion for it and was an absolute joy to work with.At the time she was in talks with R Kelly to produce her next album and she did a version of "you are not alone" which she sent to him. She wanted it released as a single but we said MJ had done such a good version that it would be unlikely to sell which she accepted. The R Kelly idea died a death but that is another story.
For "everyday is a new day" i campaigned for her version of "he lives in you" as a single. It remains my favourite version of the song and i honestly thought it could be a hit single over here but Diana herself was not keen so we went with "until we meet again" as the follow up to "not over you yet", that is until Diana had some personal problems and was unable/unwilling to come over to promote it so the single was canned and the album was allowed to slip away.

Hope this helps.

**Ollie9** · 03-25-2016, 03:18 PM

I so enjoy reading your posts Bluebrock. I have always been fascinated by Diana's career and have so many questions i would love to ask.
I can't for the life of me see how "free [[ I'm Gone)" was left off the EDIAND album. The song would have been extremely radio friendly in 99 with or without Diana being in the UK to promote it.
Does anyone think there were any potential hit singles on the "I Love You"album.

**Bluebrock** · 03-25-2016, 03:28 PM

Originally Posted by Ollie9

I so enjoy reading your posts Bluebrock. I have always been fascinated by Diana's career and have so many questions i would love to ask.
I can't for the life of me see how "free [[ I'm Gone)" was left off the EDIAND album. The song would have been extremely radio friendly in 99 with or without Diana being in the UK to promote it.
Does anyone think there were any potential hit singles on the "I Love You"album.

Thank you so very much Ollie. You are too kind.
I agree that free [[i'm gone) was a potential hit but there was some copyright issues that prevented it appearing on the album. We even delayed the release of the album in order to get clearance but Diana herself wanted the album out in the UK. It had already tanked in the States and we waited until we could wait no longer. A missed opportunity.

As regards "i love you" i had no dealings whatsoever with this album. My time had passed and to be honest i don't think i could have done anything with such a poorly conceived album. The production was awful and it would have been a massive challenge to find a hit single on it.Others may disagree and i would be interested to hear any such views.

**sup_fan** · 03-25-2016, 03:51 PM

Bluebrock very interesting posts and thanks so much for sharing!! Please tell us more! ��

**Bluebrock** · 03-25-2016, 04:11 PM

Originally Posted by sup_fan

Bluebrock very interesting posts and thanks so much for sharing!! Please tell us more! ��

My pleasure sup fan. Ask away and if i can answer i shall happily do so.

**sup_fan** · 03-25-2016, 04:25 PM

what about the Box set? did the uk clean that mess up before releasing? the initial US release was tragic. although Your Love was a pretty strong single

did you guys also do Diana Extended?

the US has always been fickle with their stars and entertainment. once someone is considered passe, then it's very hard to stage a come back. add to that the damage to her public image from Mary's book and you start to create a very unsympathetic public. i think that did more to harm her than any single release schedule.

**Bluebrock** · 03-25-2016, 04:58 PM

Originally Posted by sup_fan

what about the Box set? did the uk clean that mess up before releasing? the initial US release was tragic. although Your Love was a pretty strong single

did you guys also do Diana Extended?

the US has always been fickle with their stars and entertainment. once someone is considered passe, then it's very hard to stage a come back. add to that the damage to her public image from Mary's book and you start to create a very unsympathetic public. i think that did more to harm her than any single release schedule.

The box set did quite well over here. We released "your love" as a single, brought Diana over to do a couple of TV spots and we got a top 20 hit out of it, We followed that with "best years of our lives" which Diana absolutely adored, We brought her over againand we got a top 30 hit. We were delighted with the "one woman" compilation which contained both of these songs and went all the way to no.1 on the UK album charts. This was such an achievement and Diana did lots of press and behaved like the ultimate pro that she was. This was when i really got to know her . We were whisking her from one studio to another and it was all 90 miles an hour stuff but boy did we enjoy yourselves. Diana asked to return to the States to help relaunch her career!! Not sure how serious she was but i had 4 children living at home at the time with more to come and so it was never really an option.

**sup_fan** · 03-25-2016, 06:15 PM

oh Blue - motown US could have definitely used your help!! from what i've read it was chaos there. did you guys in the UK ever hear any of the inside stories about why things were so mis managed with Force Behind the Power lp and single releases?

**Bluebrock** · 03-25-2016, 06:32 PM

Originally Posted by sup_fan

oh Blue - motown US could have definitely used your help!! from what i've read it was chaos there. did you guys in the UK ever hear any of the inside stories about why things were so mis managed with Force Behind the Power lp and single releases?

Yes we did!! If truth be told we didn't really know what to believe but we did hear that US radio were not interested in playing her music, but we were also told that Motown USA failed to supply the radio stations with her music. On a rare trip across the pond i attended the taping of Diana's appearance on the Jay Leno show where she performed "i will survive". From what i was told the fans were crying out for it to be released as a single but the record company would not do so despite Diana requesting them to do so. The show itself was a disaster which we shall not go into here but i left thinking wtf is going on here. Any remote chance of my moving to the USA ended here, I knew i would be banging my head against a brick wall. It was so unprofessional.
Diana's US fans had my sympathy. So much strong material was allowed to go to waste. It must have been very frustrating.

**sup_fan** · 03-25-2016, 06:52 PM

from what i've read, Motown bungled Force but then radio refused to do anything with Take Me Higher. potentially if Motown had applied some common sense and strategic thinking to promoting Force and laying out a logical series of singles, it might have worked. but then again, she'd been off the charts since 1984 and "diva" was still a dirty word then. so the US public might have ignored it anyway.

By the time Take Me Higher was released in the US, it was pretty much a lost cause to do much here. she would have gotten some airplay but I Will Survive had already been released again as a techno/dance version of the Gloria Gaynor original. frankly she was a little late with that track. Of course the die-hard fans and dance clubs would have played it more but mainstream radio may or may not have.

i find it curious that she'd so nonchalant about releasing an album she really didn't care for or much about - Workin' and Everyday.

**Bluebrock** · 03-25-2016, 07:29 PM

It was her 2nd solo album "everything is everything" that she didn't care for not "ediand". Having said that we didn't think "ediand" was as strong as "fbtp" or "tmh" but we were happy enough with it and confident enough to get at least two hit singles from it. Perhaps she wasn't as keen on promoting "ediand" because she knew she was leaving Motown. We wanted her to sign to a UK label but it did not happen due to other circumstances best not discussed here.

**reese** · 03-25-2016, 09:36 PM

Originally Posted by Ollie9

Does anyone think there were any potential hit singles on the "I Love You"album.

IMO, the title track was the only track that could have been considered for a single. I recall reading some article that stated it was getting some urban radio play.

I also love her rendition of WHAT ABOUT LOVE [[from "The Color Purple"), but I don't think it could have been a single although it is a very strong album track.

**reese** · 03-25-2016, 09:49 PM

Originally Posted by sup_fan

from what i've read, Motown bungled Force but then radio refused to do anything with Take Me Higher. potentially if Motown had applied some common sense and strategic thinking to promoting Force and laying out a logical series of singles, it might have worked. but then again, she'd been off the charts since 1984 and "diva" was still a dirty word then. so the US public might have ignored it anyway.

By the time Take Me Higher was released in the US, it was pretty much a lost cause to do much here. she would have gotten some airplay but I Will Survive had already been released again as a techno/dance version of the Gloria Gaynor original. frankly she was a little late with that track. Of course the die-hard fans and dance clubs would have played it more but mainstream radio may or may not have.

i find it curious that she'd so nonchalant about releasing an album she really didn't care for or much about - Workin' and Everyday.

I think Motown was going through changes in executives when WORKIN' OVERTIME, FORCE, and TAKE ME HIGHER were released. Maybe EVERYDAY as well. I remember a USA TODAY article promoting that last album where Diana said she connected with the current president when he ended up sending her a demo for a song that she had already recorded for it.

I thought TAKE ME HIGHER was full of hits waiting to happen but the songs were released in the wrong order. After the title track, I would have gone with IF YOU'RE NOT GONNA LOVE ME RIGHT, VOICE OF THE HEART, I WILL SURVIVE, and GONE.

Re SURVIVE, I was surprised that Motown didn't release it in the US, especially since the video was getting rotation, it was the closing song in the hit film IN AND OUT, and she performed it during her Super Bowl halftime show. But as I recall, Chantay Savage also had a version out that was doing well. So that's probably why Motown didn't release Diana's.

**soulster** · 03-25-2016, 11:23 PM

It's too bad that traditional CD boxed sets won't sell anymore, and aren't really feasible for the labels. That "Forever Diana" boxed set was horrible in terms of mastering with bad EQ, phase issues, early fades, ect. What Ross Records should have done was create another box and used established and experienced producers and engineers who know what they are doing. That's all a wasted opportunity.

I think it would be tough to do a box now, but what either RCA/Legacy or Universal could do is what Sony Legacy and Capitol did for the band heart, or Lou Rawls: cross-license a 2-CD set with both Motown RCA material. To fit as many songs on, use the single versions. That would be a benefit because some single versions are still not available digitally. You can't get all of the singles in, but they could put the highest charting ones on. And, to avoid going overboard with any new stuff, establish a cutoff point. If I feel like, I could work up a viable tracklist for such a comp.

**Ollie9** · 03-26-2016, 06:59 AM

Going back to Diana on the Wogan show.... I really don't understand why she would refuse to promote a song on live, prime time tv [["Workin Overtime") that she herself had chosen to be the first single release????
I always thought she loved the " WO" album, as she seemed to really enjoy herself when singing the songs in concert. I actually prefer the album over EDIAND which to me is a little soggy. I would have chosen "Say We Can", a positive message song with great appeal as the first single

**Bluebrock** · 03-26-2016, 07:02 AM

Originally Posted by soulster

It's too bad that traditional CD boxed sets won't sell anymore, and aren't really feasible for the labels. That "Forever Diana" boxed set was horrible in terms of mastering with bad EQ, phase issues, early fades, ect. What Ross Records should have done was create another box and used established and experienced producers and engineers who know what they are doing. That's all a wasted opportunity.

I think it would be tough to do a box now, but what either RCA/Legacy or Universal could do is what Sony Legacy and Capitol did for the band heart, or Lou Rawls: cross-license a 2-CD set with both Motown RCA material. To fit as many songs on, use the single versions. That would be a benefit because some single versions are still not available digitally. You can't get all of the singles in, but they could put the highest charting ones on. And, to avoid going overboard with any new stuff, establish a cutoff point. If I feel like, I could work up a viable tracklist for such a comp.

You sound like you know what you are talking about soulster. The box set should have been much better and i do believe someone once said that the UK version had stronger mastering than the USA one. Having never heard the USA one i couldn't possibly comment but i agree that the tracklisting could have been improved, The days of such box sets appear to be behind us so i am not expecting a call anytime soon to compile a new one sadly!

**florence** · 03-26-2016, 07:42 AM

Absolutely fascinating stuff - thanks for all the insight straight from the horse's mouth [[no insult intended!), Bluerock especially on the late 70s - helps explain why Diana's career stalled in the UK in that period.

As Ollie says it's impossible to understand why she wouldn't choose a prime TV slot to promote her latest single - Workin' Overtime -and I entirely agree with you about This House as a single release. Really not surprised this was one of her complete flops in the UK. Bottom Line surely had great potential.

It was a pity about the circumstances surrounding Until We Meet again, it was surely a hit in waiting.

By the time I Love Youcame around I'm not sure anything would have been a successful hit single although as with others I adore the What About Love track.

Interesting about Workin' Overtime in the US. Of anything post-1985 this was the one which came closest to hitting. It spent 7 weeks in the Billboard "Bubblers" hitting #114.

**Bluebrock** · 03-26-2016, 08:30 AM

Originally Posted by florence

Absolutely fascinating stuff - thanks for all the insight straight from the horse's mouth [[no insult intended!), Bluerock especially on the late 70s - helps explain why Diana's career stalled in the UK in that period.

As Ollie says it's impossible to understand why she wouldn't choose a prime TV slot to promote her latest single - Workin' Overtime -and I entirely agree with you about This House as a single release. Really not surprised this was one of her complete flops in the UK. Bottom Line surely had great potential.

It was a pity about the circumstances surrounding Until We Meet again, it was surely a hit in waiting.

By the time I Love Youcame around I'm not sure anything would have been a successful hit single although as with others I adore the What About Love track.

Interesting about Workin' Overtime in the US. Of anything post-1985 this was the one which came closest to hitting. It spent 7 weeks in the Billboard "Bubblers" hitting #114.

You must bear in mind that the "workin overtime" album had already been released when i came on board. From what i heard it appears she had met with Motown execs upon her return to the label to discuss the first project. Janet Jackson was very big at this time and certain people thought Diana should go down that particular avenue and have a younger more streetwise image and sound. Initially she embraced the idea and was open to working with Nile Rodgers again however the finished project was not what had been hoped for. Diana wanted to scrap the album and start again but had insufficient time to deliver new product, and therefore had to make do with the songs already recorded. It is true she had a major say in the first single and then had a change of heart when it was too late to change it. She said she would look ridiculous performing it on prime time TV and just plain refused to sing that song. It was decided that "this house" would be the easiest song to rehearse with only 1 day to spare. She worked so hard that day and sang the song as well as it could be sang. She bonded quite well with Terry Wogan who was a long standing fan and the interview went well. Motown wanted some comeback on their investment so she agreed to sing several album tracks on that tour but promptly dropped them all at the end of that tour.