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  1. #1

    Diana 💛 Whitney 🧡 Hold me

    This is such a beautiful song whoís version do you love the most

  2. #2
    I love them both, but i will stick with Diana's version which i heard first.

  3. #3
    Whitney's, of course. It's the definitive version and the one that helped make her a star.

  4. #4
    Both of them are Devine heaven itís the Ross Version which I love I find it quite loving but Whitney Houston has covered so many Diana Ross songs she clearly loves her🤎🧡💙

  5. #5
    Diana's was the first I heard and I still prefer it. I prefer Diana's versions over those of other "stronger" singers, e.g. It's My Turn [[Aretha), Endless Love [[Mariah), Hold Me [[Whitney & Teddy). Diana Ross is best at interpreting a song's lyrics and, of course, she is my favorite vocalist.

  6. #6
    Love the Diana Ross version more.

  7. #7
    Yuck to anyone else's version of Endless Love - stick with Diana and Lionel

  8. #8
    Team Diana. Whitney is wonderful, but sometimes her bombastic 'bellow 'till they scream' style does not fit a lyric.

  9. #9
    Team Diana..ive always found something vulnerable about her performance on this track..not a side we usually hear in her

  10. #10
    In Your Arms [[Hold Me) - another great track from Silk Electric and the definitive version.

    Potential UK hit single.

  11. #11
    Quote Originally Posted by nomis View Post
    Team Diana..ive always found something vulnerable about her performance on this track..not a side we usually hear in her
    I hated the song when SE was first released but have since come to like it a little more.
    I agree with you nomis in that Diana’s interpretation of the song has a tender, almost vulnerable quality to it. The thing that spoils things most for me are the cheesy sounding
    oohs and ahhhs in the background.
    The WH version is ok, but for me lacks the warmth of the DR version.

  12. #12
    Quote Originally Posted by Ollie9 View Post
    I hated the song when SE was first released but have since come to like it a little more.
    I agree with you nomis in that Diana’s interpretation of the song has a tender, almost vulnerable quality to it. The thing that spoils things most for me are the cheesy sounding
    oohs and ahhhs in the background.
    The WH version is ok, but for me lacks the warmth of the DR version.
    The production values on Silk Electric are of a poor standard.
    Michael Masser would have made it much better had he helmed the sessions. Despite that i still prefer it to Whitney's version.

  13. #13
    Quote Originally Posted by florence View Post
    In Your Arms [[Hold Me) - another great track from Silk Electric and the definitive version.

    Potential UK hit single.
    This would have been an excellent choice for a single in the UK. Diana puts in a stunning performance that would have been lapped up here!

  14. #14
    What is all this Whitney stuff? Am I the only one who recognizes Teddy Pendergrass on this song? It's like calling "Endless Love" Lionel Richie's version. Or "Aint No Mountain High Enough" Marvin's version with no mention of Tammi.

    That being said, Diana's version is nice enough, but to me it sounds like a Karaoke version of the much better Teddy and Whitney version. I much, much, much more prefer the duet to Diana's.

  15. #15
    Quote Originally Posted by rovereab View Post
    This would have been an excellent choice for a single in the UK. Diana puts in a stunning performance that would have been lapped up here!
    Agree, it might have done very well indeed. . “So Close” was a disastrous choice as second single. If only “Why Do Fools” had been treated as a one off, and not a template for future releases.

  16. #16
    Quote Originally Posted by after you View Post
    This is such a beautiful song whoís version do you love the most

    I donít care for the duet - except Teddys warm vocal. It seems clumsy and disjointed to me. Donít care for Whitney on it - in fact, itís probably my least favorite of her vocals.

    I like Rossí but, I think the whole thing sounds a bit cheese-ball, yet, it succeeds as an album cut and may have done ok as a single. I think itís possible to have made a big hit with that record but it needed better production, itís just not slick enough. Every time I hear it I think itís just isnít All that it could be. I actually love the verses, but I think the chorus needs work.

  17. #17
    Quote Originally Posted by RanRan79 View Post
    What is all this Whitney stuff? Am I the only one who recognizes Teddy Pendergrass on this song? It's like calling "Endless Love" Lionel Richie's version. Or "Aint No Mountain High Enough" Marvin's version with no mention of Tammi.
    No, you are not the only one who recognizes the late, great Teddy Pendergrass on "Hold Me." If memory serves it was his first radio hit after he resumed recording after his car accident. It was a hit because of HIM. Whitney was a bonus -- and a hell of a bonus. Their version is definitive.

    Ross' version doesn't really rate with me. She has so many more truly beautiful ballads that she sings with more enthusiasm and conviction, with much better production and arranging than "In Your Arms."

  18. #18
    Quote Originally Posted by Ollie9 View Post
    Agree, it might have done very well indeed. . “So Close” was a disastrous choice as second single. If only “Why Do Fools” had been treated as a one off, and not a template for future releases.
    I always thought Love Lies was the obvious follow up to Muscles.

  19. #19
    Quote Originally Posted by TheMotownManiac View Post
    I don’t care for the duet - except Teddys warm vocal. It seems clumsy and disjointed to me. Don’t care for Whitney on it - in fact, it’s probably my least favorite of her vocals.

    I like Ross’ but, I think the whole thing sounds a bit cheese-ball, yet, it succeeds as an album cut and may have done ok as a single. I think it’s possible to have made a big hit with that record but it needed better production, it’s just not slick enough. Every time I hear it I think it’s just isn’t All that it could be. I actually love the verses, but I think the chorus needs work.
    It would have sounded much better in the hands of a more experienced producer, but despite that Ms Ross's voice sounds more sincere than Ms Houston's rather forced delivery, and i don't think Teddy sounds at all good on it. Of course this was recorded after his terrible accident. He would have killed it a few years earlier.

  20. #20
    Quote Originally Posted by Bluebrock View Post
    I always thought Love Lies was the obvious follow up to Muscles.
    “Love Lies” would i’m sure have gone at least top twenty. Other then the dire “Fool For Your Love”, the plodding “So Close” would have been my last choice for release as a single.

  21. #21
    So Close was pretty dire - the fact that it was just outside the top 40 was a testament to Diana.

    I bought it of course but if it hadn't have been Diana it wouldn't have got anywhere near my collection.

    They did squeeze in It's Never Too Late as an extra single from Fools but at this stage they were just mirroring the US schedule.

    As I understand it, they were still the same circumstances in the UK as when Diana had been at Motown [[unless maybe there'd been a change of personnel) so it's disappointing they weren't as imaginative as they had been in the past when choosing singles.

    Still In Love could also have done well.

  22. #22
    Quote Originally Posted by Ollie9 View Post
    “Love Lies” would i’m sure have gone at least top twenty. Other then the dire “Fool For Your Love”, the plodding “So Close” would have been my last choice for release as a single.
    Totally agree Ollie.
    The Richard Perry remix of So Close was a slight improvement on the album version, but it was a woeful choice of follow up single. I agree that Fool for your love was even more horrific.
    My love for the lady both on a personal and professional level is unconditional, but what the hell was she doing releasing such dross when she had much respected producers only too willing to work with her. It still frustrates me to this very day.

  23. #23
    Quote Originally Posted by Ollie9 View Post
    Agree, it might have done very well indeed. . “So Close” was a disastrous choice as second single. If only “Why Do Fools” had been treated as a one off, and not a template for future releases.
    We continue to sing from the same hymn sheet!
    I wish i had been her manager in the 80's. We would have fought like cat and dog, but i would have worked my backside off to ensure she made better musical choices. Not that she would have listened to me of course!

  24. #24
    You never know if she trusts you she will listen

  25. #25
    Quote Originally Posted by after you View Post
    You never know if she trusts you she will listen
    It's too late now. She may well have listened in the 90's, but it is the 80's i am currently referring to.

  26. #26
    Quote Originally Posted by Bluebrock View Post
    Totally agree Ollie.
    The Richard Perry remix of So Close was a slight improvement on the album version, but it was a woeful choice of follow up single. I agree that Fool for your love was even more horrific.
    My love for the lady both on a personal and professional level is unconditional, but what the hell was she doing releasing such dross when she had much respected producers only too willing to work with her. It still frustrates me to this very day.
    Someone here offered a great explanation -- I regret I can't remember who and attribute it to the source. But apparently the issue was $$$$. She was using RCA to build, or rebuild, her wealth after leaving Motown with only a modest net worth and no royalties. So she spent as little as possible on costs that would be recoupable. No big name producers, or arrangers, no long studio sessions, no excessive engineering -- all to keep her expenses down. Motown taught her a valuable lesson. Also, isn't it the case that "Silk Electric" was mostly comprised of leftovers from the WDFFIL sessions?

    I loved that explanation. It placed the whole of the RCA years in a context where I could no longer truly fault her for quality issues. Her priorities were elsewhere by then.

  27. #27
    Quote Originally Posted by Bluebrock View Post
    Totally agree Ollie.
    The Richard Perry remix of So Close was a slight improvement on the album version, but it was a woeful choice of follow up single. I agree that Fool for your love was even more horrific.
    My love for the lady both on a personal and professional level is unconditional, but what the hell was she doing releasing such dross when she had much respected producers only too willing to work with her. It still frustrates me to this very day.
    So Close sounds like a song that should have been in the Grease soundtrack!

  28. #28
    I absolutely love fulfil your love itís just shows that Diana Ross can sing any type of song and that song was better than most of the rock songs but out there it was incredible incredible incredible

  29. #29
    Quote Originally Posted by Guy View Post
    Someone here offered a great explanation -- I regret I can't remember who and attribute it to the source. But apparently the issue was $$$$. She was using RCA to build, or rebuild, her wealth after leaving Motown with only a modest net worth and no royalties. So she spent as little as possible on costs that would be recoupable. No big name producers, or arrangers, no long studio sessions, no excessive engineering -- all to keep her expenses down. Motown taught her a valuable lesson. Also, isn't it the case that "Silk Electric" was mostly comprised of leftovers from the WDFFIL sessions?

    I loved that explanation. It placed the whole of the RCA years in a context where I could no longer truly fault her for quality issues. Her priorities were elsewhere by then.
    That would have been me Guy. I just wish she had put aside a modest amount of money to hire a decent producer.
    Of course it was all about financial security for her family should anything happen to her. I fully understand that, but there was enough money on the table to give the fans a few musical treats. Had the Fools album flopped as it fully deserved to she would have been forced to abandon her own production duties earlier than she did.

  30. #30
    Quote Originally Posted by rovereab View Post
    So Close sounds like a song that should have been in the Grease soundtrack!
    Maybe an unused outtake but not strong enough to feature on the actual soundtrack.

  31. #31
    The more I listen to so close The more I love it is better than most songs that Arianda grande puts out just listen to that voice so Close is not as bad as you think it is because it brings you closer and closer

  32. #32
    This duet was released by TP almost a year before it was included on WH's debut album. So I'd consider this a TP single and not a WH single. Tit for tat I suppose, but giving props where they are due.

  33. #33
    Quote Originally Posted by marybrewster View Post
    This duet was released by TP almost a year before it was included on WH's debut album. So I'd consider this a TP single and not a WH single. Tit for tat I suppose, but giving props where they are due.
    Yes it was. I bought that particular TP album, and it was my introduction to Whitney Houston. It disappointed me greatly. I was and still am a huge Teddy fan. I actually met him in the UK just a few short weeks before his terrible accident.
    I have to say i loved his voice way more than i loved the person. He was a wonderful singer and those solo Philly albums and the Harold Melvin albums remain close to my heart.

  34. #34
    Quote Originally Posted by after you View Post
    The more I listen to so close The more I love it is better than most songs that Arianda grande puts out just listen to that voice so Close is not as bad as you think it is because it brings you closer and closer
    We shall have to respectfully agree to disagree on this one. In my opinion it is every bit as bad as i think it is.

  35. #35
    Quote Originally Posted by Bluebrock View Post
    Yes it was. I bought that particular TP album, and it was my introduction to Whitney Houston. It disappointed me greatly. I was and still am a huge Teddy fan. I actually met him in the UK just a few short weeks before his terrible accident.
    I have to say i loved his voice way more than i loved the person. He was a wonderful singer and those solo Philly albums and the Harold Melvin albums remain close to my heart.
    so many people [[of my generation) dont know Teddy Pendergrass music !!.. he had an incredible voice up there with Marvin Gaye imo..his vocal on "your my latest my greatest inspiration " blows me away..

  36. #36
    Quote Originally Posted by Bluebrock View Post
    Yes it was. I bought that particular TP album, and it was my introduction to Whitney Houston. It disappointed me greatly. I was and still am a huge Teddy fan. I actually met him in the UK just a few short weeks before his terrible accident.
    I have to say i loved his voice way more than i loved the person. He was a wonderful singer and those solo Philly albums and the Harold Melvin albums remain close to my heart.
    Was there a story in SUPREME FAITH that Mary was in touch with Teddy just after he left to go solo?

  37. #37
    Quote Originally Posted by nomis View Post
    so many people [[of my generation) dont know Teddy Pendergrass music !!.. he had an incredible voice up there with Marvin Gaye imo..his vocal on "your my latest my greatest inspiration " blows me away..
    He was an incredible live performer. I was mesmerized by his stage presence, star quality and charisma, and as for that voice.... Wow.
    He was most certainly up there with Marvin. I am grateful i was able to see both of these titans of music in a live setting. It was both an honour and a blessing.

  38. #38
    Quote Originally Posted by marybrewster View Post
    Was there a story in SUPREME FAITH that Mary was in touch with Teddy just after he left to go solo?
    I wouldn't know. I haven't read SUPREME FAITH.

  39. #39
    Quote Originally Posted by marybrewster View Post
    Was there a story in SUPREME FAITH that Mary was in touch with Teddy just after he left to go solo?
    They had a conversation where Teddy confided in Mary that there were things he wanted to do outside of the group and was considering going solo.

  40. #40
    Quote Originally Posted by Bluebrock View Post
    That would have been me Guy. I just wish she had put aside a modest amount of money to hire a decent producer.
    Of course it was all about financial security for her family should anything happen to her. I fully understand that, but there was enough money on the table to give the fans a few musical treats. Had the Fools album flopped as it fully deserved to she would have been forced to abandon her own production duties earlier than she did.
    Got it. Thanks for sharing that information, Bluebrock. It has helped place the RCA years into perspective for me. Ross had more business savvy than I gave her credit for. Maybe, nearing 40, she understood that her commercial prospects as a recording artist were diminishing as younger, new artists rose. As time has shown, her enduring strength is as a live performer.

    Decades later many successful artists were coming up short [[i.e. Toni Braxton) because they didn't fully understand the business part of the music business.

  41. #41
    Quote Originally Posted by Guy View Post
    Got it. Thanks for sharing that information, Bluebrock. It has helped place the RCA years into perspective for me. Ross had more business savvy than I gave her credit for. Maybe, nearing 40, she understood that her commercial prospects as a recording artist were diminishing as younger, new artists rose. As time has shown, her enduring strength is as a live performer.

    Decades later many successful artists were coming up short [[i.e. Toni Braxton) because they didn't fully understand the business part of the music business.
    You are doubtless correct regarding her realising her regular hit making days were probably coming to an end, She of course continued to be successful in the UK throughout the 90's which i recall somewhat surprised her. She was usually surprised when we told her when a single charted over here.

  42. #42
    "Hold Me" by Diana Ross wins this duel. It's amazing how Diana Ross' vocal performances makes one focus on the vocal highs of the song and not the production aspects of the song.

  43. #43
    Exactly right not too many singers out there as such a beautiful voice as our Diana

  44. #44
    I love both versions, but Whitney & Teddy just top it for me

  45. #45
    Quote Originally Posted by TomatoTom123 View Post
    I love both versions, but Whitney & Teddy just top it for me
    Yeah, I'm amazed at how many people prefer Diana's version...in this forum. I'm sure outside the forum there would be a different ratio rate. Not that I'm faulting anyone for preferring Diana's version. We all like what we like. But I personally don't see the appeal in comparison to what Teddy and Whitney did with it.

  46. #46
    Quote Originally Posted by RanRan79 View Post
    Yeah, I'm amazed at how many people prefer Diana's version...in this forum. I'm sure outside the forum there would be a different ratio rate. Not that I'm faulting anyone for preferring Diana's version. We all like what we like. But I personally don't see the appeal in comparison to what Teddy and Whitney did with it.
    I ageee Ran. I think many people may not have even heard Diana's version, as nice as it is.

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