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  1. #1

    THE BOSS.........Forty years on.

    Now heres an album that literally blows Swept Away... away. An album with real musical class and integrity. Forty years on and these songs still sparkle and shine. It's a music crime that Diana never recorded another album with A & S again. My own personal favourites being "All For One" and "It's My House".
    Last edited by Ollie9; 06-01-2019 at 06:06 AM.

  2. #2
    Agreed! From start to finish this is probably my favorite DR record. Itís just perfect. The cover art is sensational. The production incredible. The vocals are tops.

  3. #3
    Itís also a shame it didnít chart higher. Motown dropped the ball here. The title track should have also charted much higher than 19

    Her stage show promoting the album was also excellent. Her voice had never been better

  4. #4
    this album is awsome. love it, Ross in on fire vocally here. great songs. i dont think ,other than her tv special of this concert, she was visable. great tour. i agree should hve done much better but it went gold so not bad. just don't think Motown did enough.
    but I have always thought BG dropped the ball in the 70s. he seemed on point in the 60s.
    I think moving to LA and making movies , bit off more than he could chew ….at times

  5. #5
    One of the best ever. Holds up greatly. This is the LP that started the Ross-isance and shot Diana into the stratosphere. Should have charted higher but we've discussed that 2,462 times before (I've counted, don't challenge me ) but what remains is an extraordinary accomplishment by Diana, Ashford, Simpson, and every single musician and tech who worked on the album. A joy to revisit, especially in summer, when the lp was originally released. There's only one Diana Ross.

  6. #6
    One of her best albums. Love it from the start to the end. Just pure perfection.

  7. #7
    I have to concur with all the above comments. It is difficult to fault anything here. The songs, the production, the quality of Diana's vocals, and those beautiful cover photos. The only disappointment was its chart performance which was modest at best. Motown should have pulled out all the stops and given it the promotional push it deserved. It could have been as huge as the "Diana" set that followed it.
    Probably her most consistent album, and it sounds as fresh and relevant as it did back in the day. There is nothing more to be said.

  8. #8
    Theres plenty more to be said Bluebrock lol.
    I think this album caught a lot of people by surprise. Here was little Diana Ross, the girl who proved she could sing the blues and excel on beautiful love songs really stretching her vocal wings. Belting and wailing with the best of them. The photo shoot made it clear that she was really coming out.
    I think "The Boss" was the wrong choice as first single. Should have been "No One Gets The Prize" in the USA and "It's My House for the UK.
    Is there truth in the rumour that Diana was considering another album with A & S around the time of Central Park??.
    My only beef is that the album is to short. Another couple of songs would have rounded things off nicely...................Or am i being greedy?.

  9. #9
    In those days, a Gold record was important and as a single, the Boss is a Ross classic. So, no deception here.
    I donít like the cover picture.

  10. #10
    A high-five to all my fellow posters, and yes, the live show was amazing. I especially remember 'I Ain't Been Licked', which I think was the second song in the set, and 'No One Gets The Prize'. Diana set the house on fire.

  11. #11
    Quote Originally Posted by PeaceNHarmony View Post
    A high-five to all my fellow posters, and yes, the live show was amazing. I especially remember 'I Ain't Been Licked', which I think was the second song in the set, and 'No One Gets The Prize'. Diana set the house on fire.
    Forty years later, this is still my all-time favorite Diana Ross album. I remember walking into Musicland and seeing that cover on their wall display: ďIs that... wow... ...thatís Diana Ross!!Ē She was absolutely coming out!

    There is not a weak cut to be found. I agree, ďNo OneĒ should have been released as a single in the US, and Motown should have done more to promote it. I believe I remember Andy and George mentioning that along with alternate vocals there were a couple outtakes still in the vaults. This LP definitely needs an expanded edition...

  12. #12
    Absolutely one of her best albums. Every song on it is enjoyable to me. Good idea hooking her up again with A&S but it sucks that the album wasn't the commercial success that the tracks deserved. I agree with those who think the title track was the wrong first single, as great a song as it is. But the more I listen to it in recent years, I start to get why it might not have been the cut that made everyone pay attention. "No One Gets the Prize" was a winner. Had that been the first single I think it would've gone number one. Definitely a million seller. That song is hot. Diana's biggest rival that summer was Donna, um, Summer, and we know how well Donna's album did that year. Personally I find Diana's album to be the better song for song album. I think it holds up the best also. But Donna's first two singles from the album were steaming hot, "Hot Stuff" and "Bad Girls". "The Boss" as a single doesn't stand up next to those IMO, but "No One Gets the Prize" does. Had that been the first single with "The Boss" as a followup, "The Boss" single might have done better, and as a result so would the album.

    Not gonna go back down the road of how Motown screwed up the singles (5 month gap between the first and second single), just will add that to my ears, in addition to the two songs released and "No One Gets the Prize", there are two more singles on the album in "Licked" and "Morning".

  13. #13
    Quote Originally Posted by JohnnyB View Post
    I believe I remember Andy and George mentioning that along with alternate vocals there were a couple outtakes still in the vaults. This LP definitely needs an expanded edition...
    That's certainly something to look forward to!!

  14. #14
    Quote Originally Posted by JohnnyB View Post
    Forty years later, this is still my all-time favorite Diana Ross album. I remember walking into Musicland and seeing that cover on their wall display: “Is that... wow... ...that’s Diana Ross!!” She was absolutely coming out!

    There is not a weak cut to be found. I agree, “No One” should have been released as a single in the US, and Motown should have done more to promote it. I believe I remember Andy and George mentioning that along with alternate vocals there were a couple outtakes still in the vaults. This LP definitely needs an expanded edition...
    Diana told me she thought there were perhaps a further 2 tracks in the vault, but she is not always the most reliable source for providing information on her own career. Surely they would have been included on the previous expanded edition?

  15. #15
    Quote Originally Posted by Ollie9 View Post
    Theres plenty more to be said Bluebrock lol.
    I think this album caught a lot of people by surprise. Here was little Diana Ross, the girl who proved she could sing the blues and excel on beautiful love songs really stretching her vocal wings. Belting and wailing with the best of them. The photo shoot made it clear that she was really coming out.
    I think "The Boss" was the wrong choice as first single. Should have been "No One Gets The Prize" in the USA and "It's My House for the UK.
    Is there truth in the rumour that Diana was considering another album with A & S around the time of Central Park??.
    My only beef is that the album is to short. Another couple of songs would have rounded things off nicely...................Or am i being greedy?.
    It was briefly discussed but never got beyond a casual discussion. Diana wanted to follow a more pop/rock vibe in the early 80's which is also the main reason why Luther never got to produce a full album on her.

  16. #16
    Definitely a favorite of mine and I remember the how everyone was talking about the "Boss" in the clubs. Nick and Val just seem to bring out the best in Diana or maybe it was that she loved working with them. I don't know but this is still a good good album.

  17. #17
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    Sparkle is one of her greatest vocal performances. It was so understated, yet powerfully soulful.

    At 3:59 .... "Now you say you want to leave ......"
    WOW, that vocal rips into my heart ...... I can listen to it over and over again.

    Diana never had to scream and screech and hoot and holler to convey emotion like so many of her peers.
    Last edited by Circa 1824; 06-02-2019 at 04:01 PM.

  18. #18
    I know exactly what you mean Circa. Diana conveys so much emotion in those lines. The second "Now you say you want to leave" cuts me up every time. The first is filled with anger, the second just hurt and disbelief.

  19. #19
    Had The Boss been the follow up to diana, i think it would have been a huge album with hit singles a plenty. As it was, the album discounting The Wiz sountrack was the follow up to Ross 78.............Enough said.

  20. #20
    Quote Originally Posted by Ollie9 View Post
    Had The Boss been the follow up to diana, i think it would have been a huge album with hit singles a plenty. As it was, the album discounting The Wiz sountrack was the follow up to Ross 78.............Enough said.
    I have to agree. It is criminal that such an outstanding product did not sell as well as it should have done, but i guess you could say the same thing about all three A&S albums. Surrender did well in the UK but not so much in the USA. Those three were amongst her most lauded albums yet for the most part underperformed. Another reason perhaps why they did not work together again?

  21. #21
    You are most probably right Bluebrock for much the same reason Diana did not record a second album with Richard Perry.
    The wonderful Surrender album suffered from product overload. Did we really need "EIE".... ...Way to go motown.
    The Boss album needed a killer first single. The Boss as a single is now regarded as a Diana classic and although a good song, does not hint at top 10. An "Upside Down" was what was needed to send the album on it's way, ie climbing the higher echelons of the charts.

  22. #22
    YES, fantastic album. Ashford & Simpson worked their magic all over it. My favourites are the title track, "It's My House", "No One Gets The Prize" and "Once In The Morning".

  23. #23
    According to this video, the single version of "No One Gets the Prize" is edited at two points from the LP version. It also fades early and appears to be slightly sped up. Is this accurate to the release some of you own?


  24. #24
    Quote Originally Posted by Circa 1824 View Post
    Sparkle is one of her greatest vocal performances. It was so understated, yet powerfully soulful.

    At 3:59 .... "Now you say you want to leave ......"
    WOW, that vocal rips into my heart ...... I can listen to it over and over again.

    Diana never had to scream and screech and hoot and holler to convey emotion like so many of her peers.
    I agree that Sparkle was one of the best cuts ever on a Diana Ross album.

  25. #25
    Quote Originally Posted by smallworld View Post
    According to this video, the single version of "No One Gets the Prize" is edited at two points from the LP version. It also fades early and appears to be slightly sped up. Is this accurate to the release some of you own?

    I don't have this single but there are some edits in this video that seem rather sloppy. I heard maybe two edits as well as a bunch of other jump cuts that make me think they might have been done by the person who uploaded the video as opposed to Motown. That said, looking closely at the video, I also see a running time on the record label that is 3:52 whereas this video is 3:46.
    Last edited by reese; 12-31-2019 at 03:07 PM.

  26. #26
    Honestly, after her debut and Surrender, I was so bored with her stuff aside from the hits. The Boss was so exciting seeing her back with new material from Ashford & Simpson. They just knew how to produce her beautifully. I own 4 Diana Ross albums. The first 3 and this one. Then of course my own comps. of her hits and album tracks I like.

  27. #27
    Love ,love,love it...brings back so many memories...getting ready for school and hearing this on the radio...my aunt bought me the single coz she saw it in a picture sleeve lol...stunning cover to the album..oh i wish i was 14 again.

  28. #28
    The Boss has always been one of my favorite Diana albums. She sounds so energized singing the material on this album. She is really enjoying herself. Add me to the group that was surprised it didn't perform better than it did.

  29. #29
    Quote Originally Posted by thommg View Post
    The Boss has always been one of my favorite Diana albums. She sounds so energized singing the material on this album. She is really enjoying herself. Add me to the group that was surprised it didn't perform better than it did.
    You are duly added! Berry was not behind this album because Diana had already begun shopping around for another record deal. He was furious that she would even contemplate leaving Motown.

  30. #30
    Quote Originally Posted by Bluebrock View Post
    You are duly added! Berry was not behind this album because Diana had already begun shopping around for another record deal. He was furious that she would even contemplate leaving Motown.
    ironic that if they HAD really pushed Boss like they should have and given it the success it so rightfully deserved, then perhaps she would have had a more favorable outlook on motown. she wasn't happy with their lack of promotion for this lp nor their support of her tour at the time

  31. #31
    Quote Originally Posted by sup_fan View Post
    ironic that if they HAD really pushed Boss like they should have and given it the success it so rightfully deserved, then perhaps she would have had a more favorable outlook on motown. she wasn't happy with their lack of promotion for this lp nor their support of her tour at the time
    Yup, which is why I always say that for every genius move Gordy made, he made a bunch of idiotic ones too. He always seemed to have this tunnel vision. Here it's displayed as he's pissed at Ross for checking out the competition and as a result decides to punish her by not putting the full weight of the company behind her projects. He could only see his personal feelings, instead of realizing that if she's thinking about leaving, give her reasons to stay. The following year diana80 was huge, but IMO The Boss was a far superior album. It had all the ingredients of being a mega hit album.

  32. #32
    my understanding about the timeline of events was that in 79 it wasn't so much that Diana was actively (or even casually) shopping for a label. but rather she was specifically excluding Berry from as many of her professional decisions as possible. she had moved to NYC, was working day to day with A&S, had set up her own offices. And you could track these back further than 79 too. the huge fallout between them on the set for Mahogany, her adamant position that she star as Dorothy in The Wiz.

    As she tried to separate herself from Berry and the overall Motown organization, those people became less interested and invested in her. i'd imagine the head of the sales, marketing departments were like "fine - you wanna take all this on, have at it"

    That isn't a total surprise. when you basically redirect work from one team to another, there's often a slight sense of betrayal and F U attitude

  33. #33
    Quote Originally Posted by sup_fan View Post
    my understanding about the timeline of events was that in 79 it wasn't so much that Diana was actively (or even casually) shopping for a label. but rather she was specifically excluding Berry from as many of her professional decisions as possible. she had moved to NYC, was working day to day with A&S, had set up her own offices. And you could track these back further than 79 too. the huge fallout between them on the set for Mahogany, her adamant position that she star as Dorothy in The Wiz.

    As she tried to separate herself from Berry and the overall Motown organization, those people became less interested and invested in her. i'd imagine the head of the sales, marketing departments were like "fine - you wanna take all this on, have at it"

    That isn't a total surprise. when you basically redirect work from one team to another, there's often a slight sense of betrayal and F U attitude
    Itís really interesting realizing all that potentially happens behind the scenes with record companies. Motown wasnít exactly setting the music charts on fire at this time. The company as a whole would have benefitted from a mega-hit product from their biggest star. Smh...

  34. #34
    ^you're right. Berry even mentions this in his book that by 80, things were really bleak, financially, for Motown.

  35. #35
    All excellent points Sup. Johnny also excellent point, which speaks to my constant reiteration that business becomes personal all the time. When artists make things personal, like Florence did, there's this prevailing thought that it's all just business and the artists should see it that way. But the record labels and execs don't follow that rule, so why should the artists? There are obviously ways we could list- again, using Flo as an example, but she's far from the only one at Motown or in industry history- Florence making the goings on so personal that she cut her nose off to spite her face. This "Boss" issue is a great example of Motown doing the same thing. So rather than the label throw their weight behind what Diana was attempting to do, they'd rather see her sink than help her float and thus put money in the pocket of the company. The question is: did they learn their lesson (in that regard) by the time of diana80, or did that album succeed in spite of Motown's lack of attention?

  36. #36
    Quote Originally Posted by reese View Post
    I don't have this single but there are some edits in this video that seem rather sloppy. I heard maybe two edits as well as a bunch of other jump cuts that make me think they might have been done by the person who uploaded the video as opposed to Motown. That said, looking closely at the video, I also see a running time on the record label that is 3:52 whereas this video is 3:46.
    The video audio runs faster than the LP, which may be a turntable issue. Otherwise, the two edits + early fade would bring it to the listed time.

    To my ears, the jumpy parts sound like the record is skipping.

    Another fan seems to have created a version from a digital source [linked below], though it only edits the album version an one point (the first edit point found in the other video, the second edit point was left alone), which puts the early fade at a different point in the track.



    I'm leaning towards the first, vinyl sourced video as the correct edit. Hopefully, someone who owns the single can (dis)confirm.

  37. #37
    i like No One but IMO the best track was the title track, which definitely deserved to be the lead single. the only fault i have with the song on the lp is that it's too short i always play the extended 12" version simply because there's more to listen to

    in Randy's book, there's that excellent discography where George highlights so many fascinating facts and trivia bits about the songs and lps. with others, he explains how inconsistent air play or differing peaks in different markets impacted the overall national chart positions (ie all of the issues plaguing the releases and charts for Baby It's Me). interesting that he doesn't discuss any of these with The Boss. Randy's books are the only one that mention the "lack of motown promotional support" so i'm not 100% sure about the details or validity.

    George - you around to share any insights?

  38. #38
    Quote Originally Posted by sup_fan View Post
    i like No One but IMO the best track was the title track, which definitely deserved to be the lead single. the only fault i have with the song on the lp is that it's too short i always play the extended 12" version simply because there's more to listen to.
    I totally agree. The first time I heard THE BOSS on the radio, I couldn't get enough of it and kept the radio on hoping the dj would play it again. Later that night, he played NO ONE GETS THE PRIZE and again, I loved it. It sounded like Diana's new album was going to be a winner.

    Then one day, the dj played a version of THE BOSS that wasn't on the album. I had no idea that a 12-inch version had come out and I couldn't wait to get a copy. I don't think I've liked any of her subsequent 12-inch singles (except maybe CHAIN REACTION) as much as I do THE BOSS.

  39. #39
    Although i love the song "The Boss", i think there are other songs on the album that might have made a greater impact as the first single.

  40. #40
    Yes the first video is the correct 7" edit...the record actually skips 3 times so thats where the time difference occurs....god knows why someone would post such a video when the record is actually jumping all over the show.

  41. #41
    Quote Originally Posted by Ollie9 View Post
    Although i love the song "The Boss", i think there are other songs on the album that might have made a greater impact as the first single.
    The title cut is a great disco number that I think would appeal to a wide audience, but the single version does not stack up to the excitement of the 12 inch and, Reese's anecdote aside, a 12 inch usually didn't get much radio exposure. Listen to the single of "The Boss", and then listen to Donna's "Hot Stuff", "Bad Girls", and Gloria's "I Will Survive". IMO Ross comes up short. However, "No One Gets the Prize" has the sound that I think would've gotten people's attention coming through the radio. "Prize" had the opportunity to be to Ross what "Bad Girls" is to Summer, while "The Boss" is to Ross what "Dim All the Lights" is to Summer. Both tunes are great, and I do think "The Boss" could've gone #1, but as the followup to "Prize". "Prize" was the lead single, hands down for me. "The Boss" follows, and then "Licked", and then maybe "Once In the Morning".

  42. #42
    I love both "The Boss" and "No One Gets The Prize." What makes them unique in the Ross catalog (up to that point in her recording career) is that you needed a lyric sheet to determine what she was singing. It was the first Motown project where her diction was not completely clear. There is a hurried, slurring in her vocal approach on those recordings. I also think A&S wrote relatively esoteric lyrics on those tracks. Contrast it to "Upside Down" where you can instantly discern the lyrics by listening.

    Also, "No One Gets The Prize" is not really a 'Ross' song because it does not celebrate positivity. I think that could have contributed to the moderate success of those tracks. They sound good but are not in league with 'I Will Survive' or 'Hot Stuff' in production, spirit or clarity.

  43. #43
    Quote Originally Posted by Guy View Post
    I love both "The Boss" and "No One Gets The Prize." What makes them unique in the Ross catalog (up to that point in her recording career) is that you needed a lyric sheet to determine what she was singing. It was the first Motown project where her diction was not completely clear. There is a hurried, slurring in her vocal approach on those recordings. I also think A&S wrote relatively esoteric lyrics on those tracks. Contrast it to "Upside Down" where you can instantly discern the lyrics by listening.

    Also, "No One Gets The Prize" is not really a 'Ross' song because it does not celebrate positivity. I think that could have contributed to the moderate success of those tracks. They sound good but are not in league with 'I Will Survive' or 'Hot Stuff' in production, spirit or clarity.
    i remember the descriptions from Randy's books about this whole album set. a drastically new look for her in the cover art, much more assertive lyrics, more mature subject matter and points of view. He said she came across very much as a "woman of the 80s" which i completely agree with. she's now sporting a mane of hair, the revealing outfit she's wearing, visually it looks like she's almost holding up the walls on either side of her on the front.

    Much of what she'd recorded prior had been basic love songs - oh i'm so happy i'm in love, my heart is broken, etc. With The Boss, No One, Once in the Morning, It's my house, ain't been licked, you have a more assertive POV. and i never found that her diction was lacking here. the only phrase i had to look up was on No One and it's "I told him all the boys she'd hurt and i would number them"

  44. #44
    Quote Originally Posted by sup_fan View Post
    i remember the descriptions from Randy's books about this whole album set. a drastically new look for her in the cover art, much more assertive lyrics, more mature subject matter and points of view. He said she came across very much as a "woman of the 80s" which i completely agree with. she's now sporting a mane of hair, the revealing outfit she's wearing, visually it looks like she's almost holding up the walls on either side of her on the front.

    Much of what she'd recorded prior had been basic love songs - oh i'm so happy i'm in love, my heart is broken, etc. With The Boss, No One, Once in the Morning, It's my house, ain't been licked, you have a more assertive POV. and i never found that her diction was lacking here. the only phrase i had to look up was on No One and it's "I told him all the boys she'd hurt and i would number them"
    On the whole, I think THE BOSS signaled a whole new phase of her career. Her image, records, and even her shows became younger and sexier. As the years passed, looking at her singing UPSIDE DOWN was almost like watching a totally different performer than the one who had sung BIG MABLE MURPHY just six years before.

  45. #45
    Quote Originally Posted by reese View Post
    On the whole, I think THE BOSS signaled a whole new phase of her career. Her image, records, and even her shows became younger and sexier. As the years passed, looking at her singing UPSIDE DOWN was almost like watching a totally different performer than the one who had sung BIG MABLE MURPHY just six years before.
    agree! you can find segments of her 1980 tv special "diana" where we performs in the round at the Forum in LA. to me, this epitomizes the "80s diana" she's sexy as hell and modern. shoulder pads, massive full-length fur coat, gorgeous slinky silk gown, mane of hair. and singing Upside Down, The Boss, I'm coming out. perfect image combined with the perfect songs and the perfect sound for the perfect time.

    it was great to see her without all of the excesses of her 70s shows/extravaganzas

  46. #46
    Quote Originally Posted by Guy View Post
    I love both "The Boss" and "No One Gets The Prize." What makes them unique in the Ross catalog (up to that point in her recording career) is that you needed a lyric sheet to determine what she was singing. It was the first Motown project where her diction was not completely clear. There is a hurried, slurring in her vocal approach on those recordings. I also think A&S wrote relatively esoteric lyrics on those tracks. Contrast it to "Upside Down" where you can instantly discern the lyrics by listening.

    Also, "No One Gets The Prize" is not really a 'Ross' song because it does not celebrate positivity. I think that could have contributed to the moderate success of those tracks. They sound good but are not in league with 'I Will Survive' or 'Hot Stuff' in production, spirit or clarity.
    I've never had trouble understanding what she is singing.

    I think "Prize" is as good as the songs you mentioned. It's funky, has an edge. Diana needed edgy songs.

  47. #47
    Quote Originally Posted by reese View Post
    On the whole, I think THE BOSS signaled a whole new phase of her career. Her image, records, and even her shows became younger and sexier. As the years passed, looking at her singing UPSIDE DOWN was almost like watching a totally different performer than the one who had sung BIG MABLE MURPHY just six years before.
    Agreed. Too bad she didn't keep it up.

  48. #48
    I was more referring to the commercial viability of the tracks not the quality. The lyrics may have been easily understood here, by her die-hard fans, but not elsewhere. My fellow Ross-friends and I make up nonsensical lyrics to "No One Gets The Prize" because the song is unusually worded.

    I understand where she was in her career and I think -- and the world agreed -- that "diana" was a clearer statement. You can set that Ross/Chic masterpiece alongside the very best music of the era.

  49. #49
    Quote Originally Posted by Guy View Post

    Also, "No One Gets The Prize" is not really a 'Ross' song because it does not celebrate positivity. I think that could have contributed to the moderate success of those tracks. They sound good but are not in league with 'I Will Survive' or 'Hot Stuff' in production, spirit or clarity.
    AN interesting point Guy. Regarding the downbeat lyrics of NOGTP, i also feel a more positive message would have bolstered it's chances.
    I have always believed had The Boss been the follow up album to diana it would have gone huge. Although i personally consider it a better album overall then diana it does not have the same instant commercial appeal that diana has.
    One brilliant song from the album that i think was completely overlooked is "All For One". Many of my friends who are not particular Ross fans really like the song.

  50. #50
    was reading online that the Boss single took a long time to peak on the charts. was released in may but peaked in Sept. Diana was on Tonight Show in mid summer and promoted it, helped push it further up charts.

    also i think It's My House was the wrong follow up single. it's an enjoyable one but it just sort of rambles. No One or maybe once in the morning could have been good follow ups.

    Licked is another candidate for a single

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