[REMOVE ADS]




Results 1 to 32 of 32
  1. #1
    Join Date
    Aug 2010
    Posts
    10,018
    Rep Power
    305

    Diana Ross' Grammy Award nominees [[and the ones who won against her over the years)

    Save for the Supremes' nods.

    1971: Best Female Pop [[then Contemporary) Vocal Performance: "Ain't No Mountain High Enough" [[Dionne Warwick - "I'll Never Fall in Love Again")
    1972: Best Female R&B Vocal Performance: "I Love You [[Call Me)" [[Aretha Franklin - "Bridge Over Troubled Waters")
    1974: Best Female Pop Vocal Performance [[or Pop Female Vocalist): "Touch Me in the Morning" [[Roberta Flack - "Killing Me Softly With His Song")
    1977: Best Female R&B Vocal Performance: "Love Hangover" [[Natalie Cole - "Sophisticated Lady [[She's a Different Lady)")
    1978: Best Female R&B Vocal Performance: "Your Love Is So Good for Me" [[Thelma Houston - "Don't Leave Me This Way")
    1979: Best R&B Vocal Performance by a Duo or Group: "Ease On Down the Road" w/Michael Jackson [[Earth, Wind & Fire - "All 'n' All")
    1981: Best Female R&B Vocal Performance: "Upside Down" [[Stephanie Mills - "Never Knew Love Like This Before")
    1982: Record of the Year: "Endless Love" ft. Lionel Richie [[Kim Carnes - "Bette Davis Eyes")
    1982: Best Pop Vocal Performance by a Duo or Group: "Endless Love" ft. Lionel Richie [[Manhattan Transfer - "Boy From New York City")
    1983: Best Female R&B Vocal Performance: "Muscles" [[Jennifer Holliday - "And I Am Telling You I'm Not Going")

    10 post-Supremes Grammy nods.
    Last edited by midnightman; 01-30-2020 at 07:28 PM.

  2. #2
    Join Date
    Mar 2017
    Posts
    8,635
    Rep Power
    525
    My thoughts:

    1971- If the category is "pop" vocal then I think one doesn't get any more representative of that title than a song and vocal like "I'll Never Fall In Love Again". Diana's vocal on "Mountain" was definitely more r&b than pop, so I can't complain about Dionne's award.

    1972- My two favorite female vocalists going up against each other: let's get real, there aint a time when Diana would beat Aretha in an r&b contest. Aretha was the epitome of the genre. I LOVE Diana's recording of "Call Me". She doesn't attempt to be anyone but herself singing that song, and I think it's a testament to it's quality that it was nominated when it was a recent cover and was relegated to an album track. But Ree's "Bridge", also a cover, took someone else's song and ran to the moon. Easy vote for the Queen.

    1974- I prefer "Touch Me" to "Killing Me", but I can't argue with the decision.

    1977- I'm a HUGE Natalie Cole fan, but "Sophisticated Lady" has never been a song that grabbed my heart. I never listen to it. Automatic skip. I love me some "Love Hangover". But seeing how "Hangover" is mostly Diana ad libbing, mumbling and such, there's no comparison vocally to what Nat did. So again, can't complain.

    1978- How Diana even got a Grammy nod for this crap is beyond me. The right song won.

    1979- Can't argue with it.

    1981- The right song won.

    1982- It's hard to argue against "Bette Davis Eyes". If "Endless Love" was going to lose to anything, "BDE" was the song to do it.

    1982- Love me some Manhattan Transfer, but I would've given this one to "Endless Love". Interesting note: if Diana was hell bent on recording a cover of "Why Do Fools Fall In Love", she should have done it similar to "Boy From NYC". It was throwback yet innovative.

    1982- Uh, Diana should've asked that her name be removed from consideration for this one. Not even a contest between the way she breathed through "Muscles" and the way Jennifer ripped through "And I Am Telling You".

  3. #3
    Join Date
    Mar 2017
    Posts
    8,635
    Rep Power
    525
    There are a number of cuts from Surrender that I think deserved to be nominated for a vocal award. Diana's reading of "Brown Baby/Save the Children" deserved recognition. Various cuts from The Boss were worthy. "It's My Turn" and "Mirror, Mirror" were worthy. I'm also surprised she wasn't up for a Grammy for "Missing You".

  4. #4
    Join Date
    Dec 2010
    Posts
    927
    Rep Power
    187
    agree with Ran Rans first post above...
    Call Me wasn't even a single....both Everything Is Everything and the Diana! special couldn't possibly make the nation familiar enough to consider it a DR song.

    Your Love is So Good is one of my pes. fav DR songs...how many people even heard it? [[Possibly brief club play) Reminds me of Tina with One of The Living...everyone paid so much attention to We Don't Need Another Hero most cant even remember there was another song...both Your Love and One of The Living are in my own all time top 20 fav 12" mixes [[Baisers carib soaked "Summer Breeze" is my all time #1!)

    Mountain should have won something....it was very innovative and in its LP length a great performance....the next Grammy nod for me would have been Swept Away. To me, it is DR's 80's masterpiece. Muscles always bored me.

    Both Aretha's Bridge and Let it Be are my fav pick me up inspirational cuts. duet / George I Knew You Were Waiting lifts me, too.

  5. #5
    Join Date
    Mar 2013
    Posts
    4,955
    Rep Power
    378
    ^
    Agree that Mountain should have won something. There really was nothing else like it.
    From this list i think Diana should have picked up two grammy awards.
    "Upside Down" is an iconic song with a superb, gritty vocal from Diana. Far better then S.M. A real snub imo.
    The fact that "Endless Love" lost out to M.H kind of shows that the academy were intent on never giving her one....me thinks.
    She should DEF received a nomination for "Missing You".

  6. #6
    Join Date
    Aug 2010
    Posts
    814
    Rep Power
    261
    Diana Ross has one of the most distinctive voices in music. Her nominations above are all good. I think her strongest work was with"Remember Me" and Lady Sings the Blues. No nominations for those, though. I cannot argue with the winners in all of those years although in some contests it was extremely close and she could have possibly won but some like I Love You [[Call Me), Your Love is so Good For Me and Muscles-she clearly was just filler and never had a shot in those years. Other years, I can see it being very close for her. Pity she never did win one in competition, but they rectified it with a Lifetime one.

  7. #7
    Join Date
    Aug 2010
    Posts
    9,279
    Rep Power
    519
    It would be nice to know who the other nominees were in some of these categories. I wouldn't have always given the award to Diana [[I mean, MUSCLES vs AND I AM TELLING YOU I'M NOT GOING?) but I might have given her the following:

    1) AIN'T NO MOUNTAIN HIGH ENOUGH.

    As much as I love I'LL NEVER FALL IN LOVE AGAIN and Dionne, I think it is a rather laid-back vocal. I don't think of it as a "performance" like Diana's on ANMHE.

    2) LADY SINGS THE BLUES should have been nominated.

    3) LOVE HANGOVER.

    SOPHISTICATED LADY is ok. But I don't think of it as any better than LOVE HANGOVER or Aretha's SOMETHING HE CAN FEEL, which I believe was also nominated that year.

    4) I also think ENDLESS LOVE deserved...something. I can't say it is any better than BETTE DAVIS EYES or THE BOY FROM NEW YORK CITY. But I hated to see it snubbed after being one of the biggest singles of the year.

    5) MISSING YOU and more recently, WHAT ABOUT LOVE, deserved nominations.
    Last edited by reese; 01-30-2020 at 12:19 PM.

  8. #8
    Join Date
    Jun 2018
    Posts
    1,245
    Rep Power
    163
    ^ I agree with everything you posted above, Reese! ANMHE was a great recording and performance. I love Dionne Warwicke, but I'll Never Fall In Love Again was not one of her very best recordings or vocal performances. ANMHE was as much a Pop record as it was R&B. This was almost as disappointing as the Oscar loss for Lady. Lady and Missing You should definitely have been Grammy nominees.

  9. #9
    Join Date
    Aug 2010
    Posts
    43,221
    Rep Power
    600
    Quote Originally Posted by reese View Post
    It would be nice to know who the other nominees were in some of these categories. I wouldn't have always given the award to Diana [[I mean, MUSCLES vs AND I AM TELLING YOU I'M NOT GOING?) but I might have given her the following:

    1) AIN'T NO MOUNTAIN HIGH ENOUGH.

    As much as I love I'LL NEVER FALL IN LOVE AGAIN and Dionne, I think it is a rather laid-back vocal. I don't think of it as a "performance" like Diana's on ANMHE.

    2) LADY SINGS THE BLUES should have been nominated.

    3) LOVE HANGOVER.

    SOPHISTICATED LADY is ok. But I don't think of it as any better than LOVE HANGOVER or Aretha's SOMETHING HE CAN FEEL, which I believe was also nominated that year.

    4) I also think ENDLESS LOVE deserved...something. I can't say it is any better than BETTE DAVIS EYES or THE BOY FROM NEW YORK CITY. But I hated to see it snubbed after being one of the biggest singles of the year.

    5) MISSING YOU and more recently, WHAT ABOUT LOVE, deserved nominations.
    There is no way! [[...and I just did a thread on "I'll Never Fall In Love" again by Dionne Warwick). It was THE perfect Pop song and her delivery was superb. Simple, direct with a very catchy hook. It was the type of song so good that you readily identify with it and where you were when you first heard it or the first few times you heard it.

  10. #10
    Join Date
    Aug 2010
    Posts
    43,221
    Rep Power
    600
    This link gives you the winners of each category for each year of the Grammys. I could not find what songs were nominated though:

    https://www.grammy.com/grammys/awards

  11. #11
    Join Date
    Aug 2010
    Posts
    21,796
    Rep Power
    460
    The “pop” contingent held greater sway with the Grammy Membership than Motown and Diana was too black / r & b for that category and not soulful enough for the r & b category

    And in the 60’s they had about 10% of the categories they now have and Motown was an independent, so they never really had a chance

  12. #12
    Join Date
    Aug 2010
    Posts
    10,018
    Rep Power
    305
    Of these nods, here's where I feel the Grammys totally flubbed:

    "Endless Love" for both Record of the Year and Best Pop Vocal Performance by a Duo or Group. This was kind of a stunner. It's like when "Bad Guy" this year won over "Old Town Road". EL was the OTR of its day as a very popular duet [[11 weeks at #1 in 1981). And I say this as a fan of "Bette Davis Eyes"!

    The others? They deserved the wins. "Upside Down" should've gotten a Best Pop Female award though. Missed opportunity. Dionne was just more of a genius at pop than Diana was despite the majesty of ANMHE [[and it'll lost if it got the R&B nod since Aretha was just the top of the R&B female contingency).

    And "Missing You" not getting a nod was injustice BUT Chaka Khan still would've beaten it lol

  13. #13
    Join Date
    Aug 2010
    Posts
    10,018
    Rep Power
    305
    Quote Originally Posted by marv2 View Post
    This link gives you the winners of each category for each year of the Grammys. I could not find what songs were nominated though:

    https://www.grammy.com/grammys/awards
    Yeah, I searched through another one called Awards & Shows, they showed you what songs got nominated.

  14. #14
    Join Date
    Aug 2010
    Posts
    43,221
    Rep Power
    600
    Quote Originally Posted by midnightman View Post
    Save for the Supremes' nods.

    1971: Best Female Pop [[then Contemporary) Vocal Performance: "Ain't No Mountain High Enough" [[Dionne Warwick - "I'll Never Fall in Love Again")
    1972: Best Female R&B Vocal Performance: "I Love You [[Call Me)" [[Aretha Franklin - "Bridge Over Troubled Waters")
    1974: Best Female Pop Vocal Performance [[or Pop Female Vocalist): "Touch Me in the Morning" [[Roberta Flack - "Killing Me Softly With His Song")
    1977: Best Female R&B Vocal Performance: "Love Hangover" [[Natalie Cole - "Sophisticated Lady [[She's a Different Lady)")
    1978: Best Female R&B Vocal Performance: "Your Love Is So Good for Me" [[Thelma Houston - "Don't Leave Me This Way")
    1979: Best R&B Vocal Performance by a Duo or Group: "Ease On Down the Road" w/Michael Jackson [[Earth, Wind & Fire - "All 'n' All")
    1981: Best Female R&B Vocal Performance: "Upside Down" [[Stephanie Mills - "Never Knew Love Like This Before")
    1982: Record of the Year: "Endless Love" ft. Lionel Richie [[Kim Carnes - "Bette Davis Eyes")
    1982: Best Pop Vocal Performance by a Duo or Group: "Endless Love" ft. Lionel Richie [[Manhattan Transfer - "Boy From New York City")
    1983: Best Female R&B Vocal Performance: "Muscles" [[Jennifer Holliday - "And I Am Telling You I'm Not Going")

    10 post-Supremes Grammy nods.
    The Supremes were nominated 2 times. In 1964 for "Baby Love" and in 1965 for "Stop In the Name of Love" which is crazy considering all of the hits they had between 1964 and 1976.

  15. #15
    Join Date
    Jun 2016
    Posts
    588
    Rep Power
    135
    Most of Diana's nominations were for pretty ordinary songs. ANMHE & TMITM deserved to be nominated - some of the others I'm not so sure.

    I have an issue with covers of songs being nominated unless they are significantly different to the origial - eg ANMHE - so I can't understand why Boy from New York City would have been anyone's pick over Endless Love.

  16. #16
    Join Date
    Aug 2010
    Posts
    4,000
    Rep Power
    262
    Never really cared for the grammys because I couldn't figure out who the voting members were. It seem to show so much shade and I did not see the actual public voting. Just my opinion.

  17. #17
    Join Date
    Aug 2010
    Posts
    10,018
    Rep Power
    305
    My take on that, guys? The Grammy committee is blase, simple and old. Much like the Oscars, funny enough.

  18. #18
    Join Date
    Mar 2017
    Posts
    8,635
    Rep Power
    525
    Quote Originally Posted by Ollie9 View Post
    ^

    "Upside Down" is an iconic song with a superb, gritty vocal from Diana. Far better then S.M. A real snub imo.
    There is no way inside my head that I can imagine anything about "Upside Down" being better than "Never Knew Love Like This Before". IMO "Upside Down" is basically an updated version of "Baby Love" only in the following sense: great songs, catchy lyrics, but a 1st grader could've written both songs and sung them too. That's a far cry from "Never Knew", or most any song the great Stephanie Mills has ever given us. In my personal book, the two songs are not even on the same level. Stephanie deserved that one.

  19. #19
    Join Date
    Mar 2017
    Posts
    8,635
    Rep Power
    525
    Quote Originally Posted by jim aka jtigre99 View Post
    Diana Ross has one of the most distinctive voices in music. Her nominations above are all good. I think her strongest work was with"Remember Me" and Lady Sings the Blues. No nominations for those, though. I cannot argue with the winners in all of those years although in some contests it was extremely close and she could have possibly won but some like I Love You [[Call Me), Your Love is so Good For Me and Muscles-she clearly was just filler and never had a shot in those years. Other years, I can see it being very close for her. Pity she never did win one in competition, but they rectified it with a Lifetime one.
    Good point about Lady Sings. I didn't think about that. She definitely deserved a Grammy for that.

  20. #20
    Join Date
    Mar 2017
    Posts
    8,635
    Rep Power
    525
    Quote Originally Posted by reese View Post

    1) AIN'T NO MOUNTAIN HIGH ENOUGH.

    As much as I love I'LL NEVER FALL IN LOVE AGAIN and Dionne, I think it is a rather laid-back vocal. I don't think of it as a "performance" like Diana's on ANMHE.

    SOPHISTICATED LADY is ok. But I don't think of it as any better than LOVE HANGOVER or Aretha's SOMETHING HE CAN FEEL, which I believe was also nominated that year.
    I think "performance" is used in the same way as "singing", not so much the "theatrics" involved. When it comes to the generic term of "pop", it's hard to beat what Dionne was doing at that time. What Diana did on "Mountain" was much more edgier than anything I would've considered pop at the time. On top of that, keep in mind that most of the actual verses of "Mountain" are not of Diana singing at all. It would be hard for even me to cast a vote for a song where a singer is doing mostly spoken word vs one where the singer is, well, singing throughout.

    If Diana was going to be nominated at all in the pop category at that point, I think "Reach Out and Touch" was worthy of nomination, even if it still would've lost out.

    Same thing with "Love Hangover". For all of a minute Diana does any real singing. After that, when the beat kicks up, Barbara Martin could've probably sung the rest of it and sold millions. What Nat and Ree did vocally with their songs is a whole other world from what Diana did. Vocally not even in the same league. Now had she gotten a nom for "I Thought It Took A Little Time"...now there's a worthy opponent for "Sophisticated" and "Give Him Something", even though it probably would've still lost out.
    Last edited by RanRan79; 02-01-2020 at 01:12 PM.

  21. #21
    Join Date
    Mar 2017
    Posts
    8,635
    Rep Power
    525
    Quote Originally Posted by Levi Stubbs Tears View Post
    Most of Diana's nominations were for pretty ordinary songs.
    Agreed. Most of her noms were "meh" cuts, while her more superb vocal work was apparently ignored.

  22. #22
    Join Date
    Mar 2017
    Posts
    8,635
    Rep Power
    525
    The Supremes were even more ignored. "You Can't Hurry Love", "You Keep Me Hangin On", "Love Is Here and Now You're Gone", "Reflections", "Love Child", "Someday We'll Be Together", and "Stoned Love" definitely all deserved Grammy noms, if not wins. And vocally speaking, some of those album cuts on the Jean albums, like "This Is the Story" deserved a nomination.

  23. #23
    Join Date
    Mar 2012
    Posts
    4,678
    Rep Power
    308
    Quote Originally Posted by Levi Stubbs Tears View Post
    Most of Diana's nominations were for pretty ordinary songs. ANMHE & TMITM deserved to be nominated - some of the others I'm not so sure.

    I have an issue with covers of songs being nominated unless they are significantly different to the origial - eg ANMHE - so I can't understand why Boy from New York City would have been anyone's pick over Endless Love.
    that's a good point!. "Best Remake" might've made for a great category of its own all these years.

  24. #24
    Join Date
    Aug 2010
    Posts
    43,221
    Rep Power
    600
    I would have nominated Diana for "Gettin' Ready For Love" in 1977-78. I have to give it to her, she sang the sheet outta that song! LOL!

  25. #25
    Join Date
    Mar 2017
    Posts
    8,635
    Rep Power
    525
    Quote Originally Posted by marv2 View Post
    I would have nominated Diana for "Gettin' Ready For Love" in 1977-78. I have to give it to her, she sang the sheet outta that song! LOL!
    It's a nice vocal, but there were better vocal performances on that album.

  26. #26
    Join Date
    Jun 2019
    Posts
    204
    Rep Power
    61
    While Diana Ross delivered what many considered to be an absolutely eye-opening, extraordinary performance with Ain't No Mountain High Enough, her triumph came almost exactly one year after Peggy Lee delivered what many considered to be a totally stunning, extraordinary performance with Is That All There Is?

    Peggy recorded her song on January 24, 1969, and it was released that August. In part because of its message and its unusual arrangement as well as Peggy's perfect, precise performance, it was a curiosity that won massive, wide-spread attention. It garnered airplay slowly, building steadily, and it became her first single in nearly a dozen years to reach the Top 40 charts. In consequence, Peggy earned and received her "Best Contemporary Vocal Performance, Female" award March 11, 1970.

    Diana recorded her song March 13, March 14 and March 18, 1970, and it was released as a single July 16, 1970. It found its market [[which overlapped only in part Peggy's market), and it found the top of the charts [[which overlapped only in part the charts on which Peggy's sales/airplay were tracked). Eventually, Diana's song, too, would be nominated for a Grammy.

    Both performances were moving and majestic, structured with alternating sung and spoken passages. Although the latter recording swept to a much more dynamic orchestral finale, each had its drama and its diva moments.

    And there would be another similarity: Motown was trying to establish Diana Ross as an enduring solo attraction, like Peggy Lee, for example, and as if to prove that point, Diana included a [[comedy version of) Peggy's song in her first solo concert tour, which would debut in the summer of 1970, encouraging, emphasizing and establishing this precise comparison long before nominations for the 1971 show would be decided upon.

    Perhaps too many Grammy voters saw the connection and decided that, as fresh and exciting as it was and still seems to be, Diana's version of Ain't No Mountain High Enough was not "original" or "creative." It was a recycled, reconstructed piece -- part Marvin and Tammi; part Diana, The Supremes and The Temptations, for heaven's sake; and part Peggy -- arranged and assembled by Nicholas Ashford and Valerie Simpson. Perhaps it was perceived to be a pastiche, and perhaps Diana's part in the process was deemed to be as essential as, merely, that of the third-chair violinist at one point or another in the six-minute recording.

    So, while I was disappointed along with [[Diana and) many others, there was some logic in the choice of Dionne's song, not Diana's, never mind the fact that Dionne was almost as dependent on the Bacharach/David machine as Diana was on the Motown assembly line. And it may have presaged the reasoning for not nominating Diana's Lady Sings The Blues album in the years to come; Motown over-promoted the movie and Diana's Oscar-worthy performance in it, and articles at the time and since noted that Hollywood types were not overly enamored as the advertising campaigns unfolded.

  27. #27
    Join Date
    Aug 2010
    Posts
    43,221
    Rep Power
    600
    Quote Originally Posted by benross View Post
    While Diana Ross delivered what many considered to be an absolutely eye-opening, extraordinary performance with Ain't No Mountain High Enough, her triumph came almost exactly one year after Peggy Lee delivered what many considered to be a totally stunning, extraordinary performance with Is That All There Is?

    Peggy recorded her song on January 24, 1969, and it was released that August. In part because of its message and its unusual arrangement as well as Peggy's perfect, precise performance, it was a curiosity that won massive, wide-spread attention. It garnered airplay slowly, building steadily, and it became her first single in nearly a dozen years to reach the Top 40 charts. In consequence, Peggy earned and received her "Best Contemporary Vocal Performance, Female" award March 11, 1970.

    Diana recorded her song March 13, March 14 and March 18, 1970, and it was released as a single July 16, 1970. It found its market [[which overlapped only in part Peggy's market), and it found the top of the charts [[which overlapped only in part the charts on which Peggy's sales/airplay were tracked). Eventually, Diana's song, too, would be nominated for a Grammy.

    Both performances were moving and majestic, structured with alternating sung and spoken passages. Although the latter recording swept to a much more dynamic orchestral finale, each had its drama and its diva moments.

    And there would be another similarity: Motown was trying to establish Diana Ross as an enduring solo attraction, like Peggy Lee, for example, and as if to prove that point, Diana included a [[comedy version of) Peggy's song in her first solo concert tour, which would debut in the summer of 1970, encouraging, emphasizing and establishing this precise comparison long before nominations for the 1971 show would be decided upon.

    Perhaps too many Grammy voters saw the connection and decided that, as fresh and exciting as it was and still seems to be, Diana's version of Ain't No Mountain High Enough was not "original" or "creative." It was a recycled, reconstructed piece -- part Marvin and Tammi; part Diana, The Supremes and The Temptations, for heaven's sake; and part Peggy -- arranged and assembled by Nicholas Ashford and Valerie Simpson. Perhaps it was perceived to be a pastiche, and perhaps Diana's part in the process was deemed to be as essential as, merely, that of the third-chair violinist at one point or another in the six-minute recording.

    So, while I was disappointed along with [[Diana and) many others, there was some logic in the choice of Dionne's song, not Diana's, never mind the fact that Dionne was almost as dependent on the Bacharach/David machine as Diana was on the Motown assembly line. And it may have presaged the reasoning for not nominating Diana's Lady Sings The Blues album in the years to come; Motown over-promoted the movie and Diana's Oscar-worthy performance in it, and articles at the time and since noted that Hollywood types were not overly enamored as the advertising campaigns unfolded.
    How about Dionne Warwick's record was just better than Diana Ross', as well as,the other nominees in that category that year?

  28. #28
    Join Date
    Mar 2013
    Posts
    4,955
    Rep Power
    378
    Quote Originally Posted by RanRan79 View Post
    There is no way inside my head that I can imagine anything about "Upside Down" being better than "Never Knew Love Like This Before". IMO "Upside Down" is basically an updated version of "Baby Love" only in the following sense: great songs, catchy lyrics, but a 1st grader could've written both songs and sung them too. That's a far cry from "Never Knew", or most any song the great Stephanie Mills has ever given us. In my personal book, the two songs are not even on the same level. Stephanie deserved that one.
    I really don't there is another female vocalist alive who could have sounded as seductive as Diana does on "Upside Down". For me it ranks as one of her greatest vocals. The song is so iconic and those guitar riffs are something else. Sorry Ran, but i never much cared for Stephanie Mills voice. In fact, i actually find "Never Knew Love quite boring. Give me the funky UD any day of the week. Diana was robbed.......me thinks.

  29. #29
    Join Date
    Mar 2017
    Posts
    8,635
    Rep Power
    525
    Quote Originally Posted by benross View Post
    Diana's version of Ain't No Mountain High Enough was not "original" or "creative." It was a recycled, reconstructed piece
    So they award Peggy's song, itself a recycled story, whose verses are comprised of the exact words from an 1896 story? How creative is that? I think it came down to thinking Dionne had the better "pop" song.

  30. #30
    Join Date
    Mar 2017
    Posts
    8,635
    Rep Power
    525
    Quote Originally Posted by marv2 View Post
    How about Dionne Warwick's record was just better than Diana Ross', as well as,the other nominees in that category that year?
    Because "better" is not a fact, it's subjective. Things like "first" can't be debated, as it is a fact when one thing comes before another. But "best" is in the ear of the beholder. Enough folks on the voting committee deemed Dionne to have the best record. Replace those same folks with an entirely different group and that award might go to someone else. That's how this stuff works.

  31. #31
    Join Date
    Mar 2017
    Posts
    8,635
    Rep Power
    525
    Quote Originally Posted by Ollie9 View Post
    I really don't there is another female vocalist alive who could have sounded as seductive as Diana does on "Upside Down". For me it ranks as one of her greatest vocals. The song is so iconic and those guitar riffs are something else. Sorry Ran, but i never much cared for Stephanie Mills voice. In fact, i actually find "Never Knew Love quite boring. Give me the funky UD any day of the week. Diana was robbed.......me thinks.
    Hey, you like what you like. I grew up on Stephanie, think her one of the absolute greatest voices of our time. I've actually always thought Stephanie sounded like a much more powerful Diana Ross. Maybe it's the nasal quality. In any case, yeah we'll have to disagree on this one my friend.

  32. #32
    Join Date
    Aug 2010
    Posts
    10,018
    Rep Power
    305
    If Diana's cover of ANMHE wasn't a Grammy winner, so wasn't Peggy's song lol

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •  

[REMOVE ADS]

Ralph Terrana
MODERATOR

Welcome to Soulful Detroit! Kindly Consider Turning Off Your Ad BlockingX
Soulful Detroit is a free service that relies on revenue from ad display [regrettably] and donations. We notice that you are using an ad-blocking program that prevents us from earning revenue during your visit.
Ads are REMOVED for Members who donate to Soulful Detroit. [You must be logged in for ads to disappear]
DONATE HERE »
And have Ads removed.