[REMOVE ADS]




Page 1 of 2 1 2 LastLast
Results 1 to 50 of 55
  1. #1
    Join Date
    May 2016
    Posts
    827
    Rep Power
    110

    Touch me in the morning

    There's not a lot of talk about "Touch me in the morning". Yet it is the first of the great ballads that mark Diana Ross's style in the public mind.

    I'd like to come back to these rumours, which are perhaps not rumours at all and which give the singer a certain prejudice.



    It would have taken 15 takes for Masser to get what he wanted and Miller is quoted in the Billboard Book of Number One Hits as saying it took 300 hours of editing to finish the song. Since then, in biographies, articles, we have the idea of a capricious Diana who prefers to take care of her wigs rather than work on her songs.

    When it comes to Barbra Streisand, it never occurs to anyone to criticize her for the infinite number of takes she does for a single song. On the contrary.

    In Diana's case, there's a suspicion that it wasn't good enough... But now, we have several alternative takes, and they're all beautiful.

    In the end, maybe, the truth is that the two producers were not able to assume their indecision and they blame it on Miss Ross. It's easier and maybe more marketable to the press.
    Last edited by Albator; 01-14-2020 at 01:59 PM.

  2. #2
    Join Date
    Aug 2010
    Posts
    3,097
    Rep Power
    238
    I think the liner notes state that she was nothing less than professional during the recordings. Good vocal.good album

  3. #3
    Join Date
    May 2016
    Posts
    827
    Rep Power
    110
    This alternate take from the expanded edition is particularly effective IMO



    I also notice that she has always performed a truncated version of this song.

  4. #4
    Join Date
    Aug 2010
    Posts
    1,866
    Rep Power
    227
    I think the stories about this recording say more about Michael Masser than they do about Diana Ross. He is the one who had something in his head that he wanted on tape and couldn't relay that to the artist. That was the reason for all of the takes on the song and all the editing done on it. It certainly has nothing to do with Diana being able to knock a song out in a few takes. Mr. Masser's experiences with other artists shows this to be true.

  5. #5
    Join Date
    Mar 2017
    Posts
    5,666
    Rep Power
    312
    Quote Originally Posted by thommg View Post
    I think the stories about this recording say more about Michael Masser than they do about Diana Ross. He is the one who had something in his head that he wanted on tape and couldn't relay that to the artist. That was the reason for all of the takes on the song and all the editing done on it. It certainly has nothing to do with Diana being able to knock a song out in a few takes. Mr. Masser's experiences with other artists shows this to be true.
    I'd have to agree. As well as add that this is regurgitated, negative 'information' that's been referenced here countless times in the past by a handful of posters who try repeatedly, and fail [[again: repeatedly), to negate Diana Ross' place in music history.

  6. #6
    Join Date
    Jan 2020
    Posts
    335
    Rep Power
    0
    Mr. Masser was a master of the sublime - all of his final cuts are pure pop perfection. I think Diana brought what she learned recording LTSB to these sessions and MM pushed her even further.

  7. #7
    Join Date
    Dec 2010
    Posts
    927
    Rep Power
    187
    Diana certainly could get through complicated HDH material easily and quickly... she has a reputation for being prompt and prepared....in addition to being a very hard worker. I don't think its a matter of her being a perfectionist. She most likely as said didn't have or wasn't given a clear vision of what was expected....perhaps there wasn't even a demo copy for her to study.

  8. #8
    Join Date
    May 2016
    Posts
    827
    Rep Power
    110
    Quote Originally Posted by monicarivers View Post
    Mr. Masser was a master of the sublime - all of his final cuts are pure pop perfection. I think Diana brought what she learned recording LTSB to these sessions and MM pushed her even further.
    Listening to the 3 versions of the expended edition, I find that Masser has removed all the Soul inflections in Diana's performance.

  9. #9
    Join Date
    Mar 2013
    Posts
    4,965
    Rep Power
    378
    Diana has said herself that Masser really pushed her vocally. "One More Chance " is a prime example of this. I think it was less a case of Diana learning TMITM and more about Masser wanting an assertive, dramatic vocal from her. He most certainly always brought the drama out in her voice which led to some of her finest recordings.

  10. #10
    Join Date
    Apr 2015
    Posts
    6,060
    Rep Power
    185
    Quote Originally Posted by Ollie9 View Post
    Diana has said herself that Masser really pushed her vocally. "One More Chance " is a prime example of this. I think it was less a case of Diana learning TMITM and more about Masser wanting an assertive, dramatic vocal from her. He most certainly always brought the drama out in her voice which led to some of her finest recordings.
    She needed pushing in the studio. There is a world of difference in the quality of her vocal performances on her Masser/Ashford and Simpson productions when compared to her lazy and indistinguished self produced efforts on Why do fools and Silk Electric.

  11. #11
    Join Date
    Aug 2010
    Posts
    8,761
    Rep Power
    391
    i think everything has to be taken in context. At this point in her career, she was expanded to projects outside of just typical pop music. also the story of this song is quite different from her earlier material. it's not a simple love song. actually there's something both sad and empowering about it. part of it is saying - hey, it was good while it lasted but now it's time for you to leave. another part is displaying a rare [[at that time) strength for a woman. very few female vocalists had been so candid and discretionary in a love song. truly revolutionary for the time

    so there's a lot to convey here. a full range of emotions. and if Masser is as nit-picky as he's known to be, i'm sure he started and stopped, started and stopped, etc.

    Also i think it was Ron Miller that really told those stories about the hassle of recording TMITM. Masser came back with the story about Last Time I Saw Him and how he felt she wasn't prepared and he sent her home.

    but then to counter all of this Masser said that she immediately got Theme Mahogany and recorded the beautiful track easy and quickly.

  12. #12
    Join Date
    May 2016
    Posts
    827
    Rep Power
    110
    Everyone seems to like Michael Masser's work with Diana Ross.
    I, for one, am very mixed. A third of his production helped define a great sound for Diana, that showcase her acting talent and perfect phrasing. A ballad singer, performing with sophistication and soul.


    For the rest, there is a lot of music whose epic treatment is artificial, overproduced. Diana’s performance are quite good She automaticaly sounds tender and vulnerable as the song opens, then, her vocal grows with over dramatic intensity.


    Masser was to the seventies and eighties what David Foster is today.

  13. #13
    Join Date
    Mar 2017
    Posts
    5,666
    Rep Power
    312
    Quote Originally Posted by Bluebrock View Post
    She needed pushing in the studio. There is a world of difference in the quality of her vocal performances on her Masser/Ashford and Simpsonrproductions when compared to her lazy and indistinguished self produced efforts on Why do fools and Silk Electric.
    Though there is truth in the general statement, I think one can find similar stories and/or results in recordings by Streisand, Cher, Midler, Carly, Aretha, and countless others. In fact, I think think that's a main reason that vocal recording producers exist!

  14. #14
    Join Date
    Apr 2015
    Posts
    6,060
    Rep Power
    185
    Quote Originally Posted by PeaceNHarmony View Post
    Though there is truth in the general statement, I think one can find similar stories and/or results in recordings by Streisand, Cher, Midler, Carly, Aretha, and countless others. In fact, I think think that's a main reason that vocal recording producers exist!
    I do believe you have hit the nail on the head with your comment.

  15. #15
    Join Date
    Dec 2010
    Posts
    927
    Rep Power
    187
    different producers, different expectations different results from the beginning....

    could Smokey have handled or attempted the performance of LOVELIGHT or Run Run Run? I think the closest he could come was Mickeys Monkey. But he worked magic on Breath Taking Guy and a number of others for the Supremes, the Miracles, Mary Wells and others.... I would have liked more work for the Supremes with Clarence Paul and a shot with Norman Whitfield during the early 70's with Jean.
    With Maser they were def going for the big legitimate pop performances...I tend to like it ...To Love Again is a great CD...the LP was fine, but the extra songs make it even more wonderful to me

  16. #16
    Join Date
    Mar 2017
    Posts
    5,666
    Rep Power
    312
    Quote Originally Posted by Bluebrock View Post
    I do believe you have hit the nail on the head with your comment.
    Thanks; there are many such examples. One, possibly apocryphal, is that of Burt Bwachawach producing Mawlene Diewtwich in the early 60's. Upon requesting better enunciation from the lady, Dietrich is said to have responded, 'Thew is NOTHING incowect about my pwonunciation'.

  17. #17
    Join Date
    Mar 2017
    Posts
    5,666
    Rep Power
    312
    Another current example is the beloved Judy Collins, who continues to create beautiful albums that are self-produced and strained by endless remakes of already better-recorded versions of classic songs and lovely yet soporific vocals.

  18. #18
    Join Date
    Aug 2010
    Posts
    717
    Rep Power
    174
    Quote Originally Posted by Bluebrock View Post
    She needed pushing in the studio. There is a world of difference in the quality of her vocal performances on her Masser/Ashford and Simpson productions when compared to her lazy and indistinguished self produced efforts on Why do fools and Silk Electric.
    So very true. Listen to the Surrender album - then listen to the Eaten Alive album and you'd hardly believe it was the same singer. And it was nothing to do with age.

    There's no doubt Diana could 'do the do' - but she always needed someone else to 'think the think'.

  19. #19
    Join Date
    Mar 2013
    Posts
    4,965
    Rep Power
    378
    Quote Originally Posted by lakedistrictlad1 View Post
    So very true. Listen to the Surrender album - then listen to the Eaten Alive album and you'd hardly believe it was the same singer. And it was nothing to do with age.

    There's no doubt Diana could 'do the do' - but she always needed someone else to 'think the think'.
    Agree, her recordings speak for themselves. It's been said a thousand times, but Diana is always at her best with a strong producer at the helm. I'm just praying she leaves her producers cap in storage for the new album lol.

  20. #20
    Join Date
    Mar 2017
    Posts
    5,666
    Rep Power
    312
    Quote Originally Posted by lakedistrictlad1 View Post
    So very true. Listen to the Surrender album - then listen to the Eaten Alive album and you'd hardly believe it was the same singer. And it was nothing to do with age.

    There's no doubt Diana could 'do the do' - but she always needed someone else to 'think the think'.
    Right, but this is not at all uncommon nor restricted to Diana. Have you heard Cher's comments about recording with Peter Asher?

  21. #21
    Join Date
    Mar 2017
    Posts
    5,666
    Rep Power
    312
    ... and lest we forget, Luther's stories about recording with Aretha. And Patti regarding pre-death 'he is not a nice person' Prince.

  22. #22
    Join Date
    Apr 2015
    Posts
    6,060
    Rep Power
    185
    Quote Originally Posted by Ollie9 View Post
    Agree, her recordings speak for themselves. It's been said a thousand times, but Diana is always at her best with a strong producer at the helm. I'm just praying she leaves her producers cap in storage for the new album lol.
    You have no reason to be fearful in that respect Ollie. She will not be let anywhere near the production controls!

  23. #23
    Join Date
    May 2016
    Posts
    827
    Rep Power
    110
    Quote Originally Posted by PeaceNHarmony View Post
    Though there is truth in the general statement, I think one can find similar stories and/or results in recordings by Streisand, Cher, Midler, Carly, Aretha, and countless others. In fact, I think think that's a main reason that vocal recording producers exist!
    Streisand??? the stories behind her recording sessions is that she insists in doing 12 or 16 takes of Autumn Leaves, for exemple. this is what Michel Legrand said, and he is not the only one.

  24. #24
    Join Date
    Apr 2015
    Posts
    6,060
    Rep Power
    185
    Quote Originally Posted by PeaceNHarmony View Post
    ... and lest we forget, Luther's stories about recording with Aretha. And Patti regarding pre-death 'he is not a nice person' Prince.
    Barry Gibb told me some interesting stories about some of the artists he has worked with, and some of the stories do not make for happy bedtime reading. I will not betray his confidence, but his autobiography should make for a riveting read.

  25. #25
    Join Date
    Apr 2015
    Posts
    6,060
    Rep Power
    185
    Quote Originally Posted by Albator View Post
    Streisand??? the stories behind her recording sessions is that she insists in doing 12 or 16 takes of Autumn Leaves, for exemple. this is what Michel Legrand said, and he is not the only one.
    She is a perfectionist , and she is fully entitled to be so. No one knows how to get the best out of her voice better than she does.

  26. #26
    Join Date
    May 2016
    Posts
    827
    Rep Power
    110
    Quote Originally Posted by Bluebrock View Post
    She is a perfectionist , and she is fully entitled to be so. No one knows how to get the best out of her voice better than she does.
    But when she wasn’t in her territory, she was quite humble, like with Richard Perry, Barry Gibb or Donna Summer.
    In the late nineties she became lazy with her vocals, but lately, she came back with two great albums

  27. #27
    Join Date
    Aug 2010
    Posts
    3,097
    Rep Power
    238
    I imagine HDH knew how to get the best out of Ross.
    She turned out some stunning vocals in the 60s.
    Love the slow jam remix of my world is empty.her vocal is spot on

  28. #28
    Join Date
    Mar 2017
    Posts
    5,666
    Rep Power
    312
    Quote Originally Posted by Bluebrock View Post
    Barry Gibb told me some interesting stories about some of the artists he has worked with, and some of the stories do not make for happy bedtime reading. I will not betray his confidence, but his autobiography should make for a riveting read.
    ... and let us not forget Dusty, who [[I think Michele LeGrand said) insisted on singing & recording one word, yes, one word, at a time. Over and over.

  29. #29
    Join Date
    Apr 2015
    Posts
    6,060
    Rep Power
    185
    Quote Originally Posted by PeaceNHarmony View Post
    ... and let us not forget Dusty, who [[I think Michele LeGrand said) insisted on singing & recording one word, yes, one word, at a time. Over and over.
    Much as i love her Dusty was an absolute nightmare to work with, but she suffered from a crushing lack of self confidence. She genuinely did not realise how damned good she was. Her quest for perfection made her recording sessions very challenging to say the least.

  30. #30
    Join Date
    May 2016
    Posts
    827
    Rep Power
    110
    My favourite Diana Ross is when she does medium tempo songs about complicated relationships. "Too many nights", "If you'r not donna love me right", "reflection" and so on...

    Then, secondly, I like the great romantic love songs. But, like all, she's always on the edge, between the too syrupy or the too bombastic.

    Those are my very favorite, do you have any?

    Touch me in the morning
    Do you know where you going to
    Too Shy to say
    Love or loneliness
    Missing you [[does it fit the category?)
    Summertime
    Tell me again [[sirupy is here but also honesty)
    If we hold on together [[ could be considered inspirational song)
    Gone [[perfection)
    Until we meet again

    Others I love, in spite of terrible production or singing.

    Love lies, Watching you, When You tell me that you love me

  31. #31
    Join Date
    Mar 2017
    Posts
    5,666
    Rep Power
    312
    Quote Originally Posted by Bluebrock View Post
    Much as i love her Dusty was an absolute nightmare to work with, but she suffered from a crushing lack of self confidence. She genuinely did not realise how damned good she was. Her quest for perfection made her recording sessions very challenging to say the least.
    That's perhaps the saddest part of a sad passing - a lifelong lack of confidence. The existent recordings are timeless and always worth a revisit.

  32. #32
    Join Date
    Jun 2019
    Posts
    204
    Rep Power
    61
    Quote Originally Posted by Bluebrock View Post
    Much as i love her Dusty was an absolute nightmare to work with, but she suffered from a crushing lack of self confidence. She genuinely did not realise how damned good she was. Her quest for perfection made her recording sessions very challenging to say the least.
    This was true of her concert appearances as well. She was scheduled to appear in New York in about 1982 [[?) and was terrified to face the audiences and the critics.

    On what was to be the opening night show at the relatively intimate Upper West Side room, we were told that she was ill; we were to come back the following night.

    On what was scheduled to be the second night of her engagement, we were told that she was ill; we were to come back the following night.

    On what was supposed to be the third night of her engagement, she summoned up the courage and performed for the first time. Every word and every note was correct, but she seemed a bit unsure at the end of each song, then surprised and maybe relieved when the audience gave her warm applause. Too, I think she was surprised a bit to learn that most songs received applause at the outset, too, as the were recognized in an instant, whether they were hits or deep cuts. By the end of the evening, she relaxed enough to move a bit, swaying with the rhythm instead of standing somewhat stiffly.

    I'm not sure if she completed the engagement, which may have been one or two weeks in length; I seem to recall that she missed at least one other night, along with the first two. People who saw her at some other point during her run indicated that on those later nights, also, she seemed slightly hesitant and surprised until she approached the last few songs and knew she could make it through the show.

    She seemed humble but had no need to; she was far better than some of the singers who would slink into town back then, thinking they were the greatest thing since Elvis, The Beatles or Sophie Tucker, even if they were among the many who were one-hit wonders and were incredibly lucky to make it even that one time, based on the lack of presence and talent they manifested in person.

  33. #33
    Join Date
    Mar 2017
    Posts
    8,644
    Rep Power
    525
    Diana wasn't perfect. There had to have been times where, for one reason or another, she failed to get what the producer wanted. Big deal. The lady was human. The way the "Morning" song story has been relayed does not make Diana look bad at all, nor the producer. I particularly dig the story, whatever it's truth to fiction ratio, because it's insight into the creative aspect of the music. And in this case, the creative aspect of one of the greatest songs ever IMO.

  34. #34
    Join Date
    Mar 2017
    Posts
    8,644
    Rep Power
    525
    Quote Originally Posted by Albator View Post
    My favourite Diana Ross is when she does medium tempo songs about complicated relationships. "Too many nights", "If you'r not donna love me right", "reflection" and so on...

    Then, secondly, I like the great romantic love songs. But, like all, she's always on the edge, between the too syrupy or the too bombastic.

    Those are my very favorite, do you have any?
    My favorite Diana is when she's in a soulful mode. The soulfulness of Diana Ross is hugely underrated and underappreciated, IMO. But it's also rather under utilized, with most productions- during the 60s, 70s, and 80s- either relying on her pop schmalzy style or on her MOR abilities. She cuts up on the entire Surrender album, which is why it's my all time favorite Diana Ross album. But through the course of her reign at the top, among my favs are:

    You Can't Hurry Love
    Chains Of Love
    A Simple Thing Like Cry
    The Same Love That Made Me Laugh
    Be A Lion
    Swept Away

    And pre-reign, she has some great vocals on some of that early Supremes stuff, such as "Play A Sad Song".

  35. #35
    Join Date
    Mar 2017
    Posts
    5,666
    Rep Power
    312
    Quote Originally Posted by benross View Post
    This was true of her concert appearances as well. She was scheduled to appear in New York in about 1982 [[?) and was terrified to face the audiences and the critics.

    On what was to be the opening night show at the relatively intimate Upper West Side room, we were told that she was ill; we were to come back the following night.

    On what was scheduled to be the second night of her engagement, we were told that she was ill; we were to come back the following night.

    On what was supposed to be the third night of her engagement, she summoned up the courage and performed for the first time. Every word and every note was correct, but she seemed a bit unsure at the end of each song, then surprised and maybe relieved when the audience gave her warm applause. Too, I think she was surprised a bit to learn that most songs received applause at the outset, too, as the were recognized in an instant, whether they were hits or deep cuts. By the end of the evening, she relaxed enough to move a bit, swaying with the rhythm instead of standing somewhat stiffly.

    I'm not sure if she completed the engagement, which may have been one or two weeks in length; I seem to recall that she missed at least one other night, along with the first two. People who saw her at some other point during her run indicated that on those later nights, also, she seemed slightly hesitant and surprised until she approached the last few songs and knew she could make it through the show.

    She seemed humble but had no need to; she was far better than some of the singers who would slink into town back then, thinking they were the greatest thing since Elvis, The Beatles or Sophie Tucker, even if they were among the many who were one-hit wonders and were incredibly lucky to make it even that one time, based on the lack of presence and talent they manifested in person.
    That was the Grande Finale near Lincoln Center, I think?

  36. #36
    Join Date
    Jun 2019
    Posts
    204
    Rep Power
    61
    It may well have been. It was on West 70th or West 71st Street, just a few doors west of Broadway and Amsterdam Avenue, a few blocks north of Lincoln Center [[and one block or two blocks south and a half-dozen doors east of the spot Nick and Valerie later chose for their club). The building is still there, but there have been several different venues in that place since.

    I do recall that the club manager back then was very nice and accommodating, especially to those of us who went three successive nights to witness the opening show. She wore a white or pale pink dress and brought some glamour to an otherwise somewhat ordinary, nondescript kind of place. I think the small tables were pushed together, like in a communal dining room, perhaps so that more people could fit into the space. And I recall that Dusty seemed to have a love/hate relationship with You Don't Have To Say You Love Me, possibly because she was tired of singing it or because she believed it was the only song people would know or because it was maybe the most demanding song, requiring more belting than some of the others in her set. She performed it very well, of course, but her facial expression as the familiar opening notes rang out and perhaps some offhand remark indicated that it was a song she had to do, not one she necessarily wanted to do yet again. Probably it was her curtain song for the night, although at this remove I can't be sure of that.

  37. #37
    I will say at the outset that I like Diana’s Michael Masser recordings.

    However, could it be argued that Michael Masser was too white for Diana? By this I mean his tracks weren’t soulful enough, and were too MOR. Albator upthread mentions that one of the TMITM cuts edits outs Diana’s soulful inflections. Maybe Diana realised this, and this is why she stopped working with him?

  38. #38
    Join Date
    Mar 2017
    Posts
    5,666
    Rep Power
    312
    Quote Originally Posted by grangertim View Post
    I will say at the outset that I like Diana’s Michael Masser recordings.

    However, could it be argued that Michael Masser was too white for Diana? By this I mean his tracks weren’t soulful enough, and were too MOR. Albator upthread mentions that one of the TMITM cuts edits outs Diana’s soulful inflections. Maybe Diana realised this, and this is why she stopped working with him?
    Well ... Masser wasn't 'too white' for Stacey Lattisaw, Whitney, Dionne, George Benson, Roberta, Peabo, Teddy, Jeffrey, Thelma, Phyllis, Gladys, Marilyn & Billy, Syreeta, Aretha, Mathis, Marlena, and Natalie, so ...

  39. #39
    Join Date
    Mar 2017
    Posts
    8,644
    Rep Power
    525
    Quote Originally Posted by grangertim View Post
    I will say at the outset that I like Diana’s Michael Masser recordings.

    However, could it be argued that Michael Masser was too white for Diana? By this I mean his tracks weren’t soulful enough, and were too MOR. Albator upthread mentions that one of the TMITM cuts edits outs Diana’s soulful inflections. Maybe Diana realised this, and this is why she stopped working with him?
    I don't think that was it at all. I think "Morning" is a soul classic. I was surprised to learn that the song wasn't a #1 r&b hit considering how often I heard it on r&b stations growing up in the 80s and 90s. To my ears it's a perfect combo of soul and pop. "I Thought It Took A Little Time" is another one. Also some of the mess Diana recorded at RCA was as pop as she had ever gotten, and that was without Masser and on her own. So no, I don't think that had anything to do with it. Plus, Michael Masser has produced a ton of Black artists with fantastically soulful results. I think the most probable answer is that she just didn't care to work with the dude again, and so she didn't.

  40. #40
    Join Date
    Aug 2010
    Posts
    9,279
    Rep Power
    519
    Quote Originally Posted by RanRan79 View Post
    Plus, Michael Masser has produced a ton of Black artists with fantastically soulful results. I think the most probable answer is that she just didn't care to work with the dude again, and so she didn't.
    I just started re-reading Sharon Davis' book CHINWAGGIN. It features interviews with a lot of pop/soul acts. During her interview, Natalie Cole spoke about working with Michael Masser.

    "Michael is a perfectionist, a little on the neurotic side when it comes to producing, and he couldn't make up his mind what he wanted..." She went on to say that on one of their collaborations, she might have done the vocal 60 times. She was probably exaggerating to make a point but Diana probably had similar feelings about working with him.

  41. #41
    Join Date
    Sep 2019
    Posts
    954
    Rep Power
    94
    I always thought that Diana and MM stopped working together was because Motown/BG did not give him an exclusive deal, but I think Clive Davis at Arista Records did give him an exclusive deal.

  42. #42
    Join Date
    Aug 2010
    Posts
    8,761
    Rep Power
    391
    Quote Originally Posted by grangertim View Post
    I will say at the outset that I like Diana’s Michael Masser recordings.

    However, could it be argued that Michael Masser was too white for Diana? By this I mean his tracks weren’t soulful enough, and were too MOR. Albator upthread mentions that one of the TMITM cuts edits outs Diana’s soulful inflections. Maybe Diana realised this, and this is why she stopped working with him?
    i think it's a different type of soul. A&S were much more gospel inspired with piano-heavy tracks and big gospel backing choruses. Masser was more symphonic soul. thick lush strings, female backing vocalists but softer/subtler than the choral effect used by A&S. Also Masser seems to push for a smoother vocal from Diana where A&S went for a little more rougher.

  43. #43
    Join Date
    Aug 2010
    Posts
    8,761
    Rep Power
    391
    Quote Originally Posted by SatansBlues View Post
    I always thought that Diana and MM stopped working together was because Motown/BG did not give him an exclusive deal, but I think Clive Davis at Arista Records did give him an exclusive deal.
    they stopped working together cuz Diana left motown hehe

    seems that the relationship between D and Masser cooled a bit after the tracks were completed following It's My Turn. While some have said he was overly demanding in the studio, i think he also had some personal problems. this might have also contributed to the breakdown.

    it is a bit surprising that he never had a Diana Ross lp to himself. i'm guessing that if she had stayed with Motown, the To Love Again set would have been a full album of new Masser material. it was halfway completed.

  44. #44
    Join Date
    Apr 2015
    Posts
    6,060
    Rep Power
    185
    Quote Originally Posted by reese View Post
    I just started re-reading Sharon Davis' book CHINWAGGIN. It features interviews with a lot of pop/soul acts. During her interview, Natalie Cole spoke about working with Michael Masser.

    "Michael is a perfectionist, a little on the neurotic side when it comes to producing, and he couldn't make up his mind what he wanted..." She went on to say that on one of their collaborations, she might have done the vocal 60 times. She was probably exaggerating to make a point but Diana probably had similar feelings about working with him.
    You want the truth in black and white?
    Masser was a very hard taskmaster in the studio, and whilst Diana had to tolerate him working her hard in the studio whilst signed to Motown there was no way she was going to work that hard when she didn't have to. Masser would have been distraught at Diana's lack of passion with her vocals on the Fools and Silk Electric albums. She wouldn't work with anyone who took her out of her comfort zone anymore. That was a great pity because he knew how to get the best out of her.
    So now you know, and it is time to move on.

  45. #45
    Join Date
    Jul 2016
    Posts
    892
    Rep Power
    146
    There some good vocal performances on those albums.

  46. #46
    Join Date
    Jul 2012
    Posts
    1,773
    Rep Power
    187
    Quote Originally Posted by khansperac View Post
    There some good vocal performances on those albums.
    I totally agree.

  47. #47
    Join Date
    Feb 2012
    Posts
    2,036
    Rep Power
    213
    Quote Originally Posted by grangertim View Post
    I will say at the outset that I like Diana’s Michael Masser recordings.

    However, could it be argued that Michael Masser was too white for Diana? By this I mean his tracks weren’t soulful enough, and were too MOR. Albator upthread mentions that one of the TMITM cuts edits outs Diana’s soulful inflections. Maybe Diana realised this, and this is why she stopped working with him?
    Too white? Remove Mirror Mirror from WDFFIL and you have a half gallon of skim milk!

  48. #48
    Join Date
    Aug 2010
    Posts
    10,018
    Rep Power
    314
    I agree with MM and I say that as a fan of Mirror Mirror lol

  49. #49
    Join Date
    Apr 2015
    Posts
    6,060
    Rep Power
    185
    Quote Originally Posted by TheMotownManiac View Post
    Too white? Remove Mirror Mirror from WDFFIL and you have a half gallon of skim milk!
    Totally agree. That one track saved the album from being a total creative disaster.

  50. #50
    Join Date
    Aug 2012
    Posts
    605
    Rep Power
    172
    So did Masser not produce "In Your Arms" on Silk Electric?

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.