Is Why Do Fools Fall in Love a good single?

[Spreadinglove21]

So how do you all really feel about Diana's first RCA single release, her cover of Why do Fools Fall in Love? it was a top ten hit. It's a good song, This version certainly has plenty of hooks and ear worms. But I find the production and music chintzy and hasn't aged well, like her Motown output of the 60s and 70s.

I also think I understand why it was her first single on RCA. It was the beginning of next stage of her career. Frankie Lymon and the Teenagers were a big influence on her as a teen so I think maybe doing this song was an homage to the music that got her started singing and performing in the first place.

[lucky2012]

This was quite a surprise. 90 degree, if not 180 degree, turn! I liked it even if I was uncertain how it would fare. When it was played at a party, not long after it was released, it got a rousing response from my friends and other party-goers. I knew then it would do well. This was not just an R&B crowd.

I agree with why you understand it was her first RCA single. It was a bold gamble, for sure. I now see, decades later, that she was expanding her reach as a global pop icon at RCA. Admittedly, the results were decidedly mixed and only sporadically stellar. Still, as someone pointed out in another thread

Originally posted by Jobeterob: What she had to do was morph into the iconic artist that lasted forever - and it seems like she has done that.

[Bluebrock]

So how do you all really feel about Diana's first RCA single release, her cover of Why do Fools Fall in Love? it was a top ten hit. It's a good song, This version certainly has plenty of hooks and ear worms. But I find the production and music chintzy and hasn't aged well, like her Motown output of the 60s and 70s.

I also think I understand why it was her first single on RCA. It was the beginning of next stage of her career. Frankie Lymon and the Teenagers were a big influence on her as a teen so I think maybe doing this song was an homage to the music that got her started singing and performing in the first place.

It's a great song, and her version could have been pretty good had the production not being of such a karaoke standard. That awful introduction was probably the most inept i have ever heard on a Diana Ross record. It sounded like a 10 year old kid was on production duties. I just wish Quincy Jones had overseen the project. Ms Ross did it on a budget. I understand that. She wanted to keep costs down and increase revenue, and to that end it was a rip roaring success, but from an artistic point of view it was an unmitigated disaster.

[detmotownguy]

Ouch Blue; an unmitigated disaster lol! I first heard WDFFIL in an office building lobby environment and was def a "feel good pick me up" song. I also think it has the same effect on the radio. Per Wiki: It reached #15 in the United States [[#4 R&B), #17 in the United Kingdom and the top ten in Sweden, Norway and the Netherlands. But yeah, the production needed a bit more attention.

I wonder what Berry thought, if anything, about her immediate success after leaving Motown.

[sansradio]

Ouch Blue; an unmitigated disaster lol! I first heard WDFFIL in an office building lobby environment and was def a "feel good pick me up" song. I also think it has the same effect on the radio. Per Wiki: It reached #15 in the United States [[#4 R&B), #17 in the United Kingdom and the top ten in Sweden, Norway and the Netherlands. But yeah, the production needed a bit more attention.

I wonder what Berry thought, if anything, about her immediate success after leaving Motown.

Diana's WDFFIL reached #7 pop US.

[Bluebrock]

Ouch Blue; an unmitigated disaster lol! I first heard WDFFIL in an office building lobby environment and was def a "feel good pick me up" song. I also think it has the same effect on the radio. Per Wiki: It reached #15 in the United States [[#4 R&B), #17 in the United Kingdom and the top ten in Sweden, Norway and the Netherlands. But yeah, the production needed a bit more attention.

I wonder what Berry thought, if anything, about her immediate success after leaving Motown.

I seem to recall it went to no.4 in the UK. I still find that hard to believe, but it evidently held great appeal to the UK pop crowd. 7" singles were still very much a big deal over in the UK at that time.
My main criticism of the record is the woeful standard of production. I actually like the song itself. I loved the original version, and i do believe Ms Ross's version could have been a good one had more time and care been taken in the recording process, but i do not lay the blame soley at her door. She wanted Quincy to produce the album, and Quincy wanted to produce the album, but RCA understandably wanted a quick return on their major investment and demanded an album at short notice. As i have previously stated there was a delay in finishing Patti Austin's superlative Every Home Should Have One album, which Quincy was producing. Patti Austin herself told me this. She felt awful about this and insisted upon providing backing vocals for a few Ross tracks at a fraction of her normal fee.
Ms Ross did her best at short notice, but was quite simply out of her depth. It took her a while to realise this, and by the time she did her relationship with RCA was already terminally damaged. I could say more but i shall leave it at that.
Hope you are feeling better. Drop me a line when you fancy a catch up. Take care.

[detmotownguy]

I seem to recall it went to no.4 in the UK. I still find that hard to believe, but it evidently held great appeal to the UK pop crowd. 7" singles were still very much a big deal over in the UK at that time.
My main criticism of the record is the woeful standard of production. I actually like the song itself. I loved the original version, and i do believe Ms Ross's version could have been a good one had more time and care been taken in the recording process, but i do not lay the blame soley at her door. She wanted Quincy to produce the album, and Quincy wanted to produce the album, but RCA understandably wanted a quick return on their major investment and demanded an album at short notice. As i have previously stated there was a delay in finishing Patti Austin's superlative Every Home Should Have One album, which Quincy was producing. Patti Austin herself told me this. She felt awful about this and insisted upon providing backing vocals for a few Ross tracks at a fraction of her normal fee.
Ms Ross did her best at short notice, but was quite simply out of her depth. It took her a while to realise this, and by the time she did her relationship with RCA was already terminally damaged. I could say more but i shall leave it at that.
Hope you are feeling better. Drop me a line when you fancy a catch up. Take care.

Any idea how much more time was needed to wait for Quincy? Sounds like RCA was a bit short-sighted by wanting a quick ROI in lieu of a super quality project. I guess enuf said - Will try to catch up tonight.

[Bluebrock]

Any idea how much more time was needed to wait for Quincy? Sounds like RCA was a bit short-sighted by wanting a quick ROI in lieu of a super quality project. I guess enuf said - Will try to catch up tonight.

I was told between 3-4 months which back then was a long time when you consider how regularly artists released new albums back then.

[Deepdishus2001]

I seem to recall it went to no.4 in the UK. I still find that hard to believe, but it evidently held great appeal to the UK pop crowd. 7" singles were still very much a big deal over in the UK at that time.
My main criticism of the record is the woeful standard of production. I actually like the song itself. I loved the original version, and i do believe Ms Ross's version could have been a good one had more time and care been taken in the recording process, but i do not lay the blame soley at her door. She wanted Quincy to produce the album, and Quincy wanted to produce the album, but RCA understandably wanted a quick return on their major investment and demanded an album at short notice. As i have previously stated there was a delay in finishing Patti Austin's superlative Every Home Should Have One album, which Quincy was producing. Patti Austin herself told me this. She felt awful about this and insisted upon providing backing vocals for a few Ross tracks at a fraction of her normal fee.
Ms Ross did her best at short notice, but was quite simply out of her depth. It took her a while to realise this, and by the time she did her relationship with RCA was already terminally damaged. I could say more but i shall leave it at that.
Hope you are feeling better. Drop me a line when you fancy a catch up. Take care.

Bluebrock, thank you so much for restating what happened. RCA bungled it from the get go and is largely responsible for the loss on their investment. Did they even recommend another producer to helm her label debut? They were thinking short term and screwed themselves.

[Bluebrock]

Bluebrock, thank you so much for restating what happened. RCA bungled it from the get go and is largely responsible for the loss on their investment. Did they even recommend another producer to helm her label debut? They were thinking short term and screwed themselves.

I suspect they did put forward their own ideas for a suitable producer, but i honestly do not know who they had in mind.

[Levi Stubbs Tears]

there was a delay in finishing Patti Austin's superlative Every Home Should Have One album, which Quincy was producing.

If only Miss Ross had said 'I insist on waiting for Quincy, but in the meantime, how about I cut a single of WDFFIL for release.'

I would be much more appreciative of the single if there was a reason like this behind it.

[Bluebrock]

If only Miss Ross had said 'I insist on waiting for Quincy, but in the meantime, how about I cut a single of WDFFIL for release.'

I would be much more appreciative of the single if there was a reason like this behind it.

Can i be your producer? Together we could make such sweet music. Lol......

[Boogiedown]

its harmless fun. bright and bouncy.

the kind of song that isn't going to get you first place in a karaoke competition but won't get you booed off either.

I'd rank it with Linda Ronstadt's HEATWAVE ... how can you go wrong with covering that song ....
but in the end , so what ....

[Ollie9]

My gran liked it......Nuff said!.......Definitely not

[after you]

I love this song so much it’s every thing fun

[after you]

This is a dream song it’s fun as a water slide

[Ollie9]

Now if we were discussing “Why [[Must We Fall In Love)”, that’s a praise worthy performance. . “Why Do Fools”....nah. A crowd pleaser for the casual Joe.

[PeaceNHarmony]

Of course! A hit and a big concert favorite to this day.

[JohnnyB]

Absolutely! It is one of Diana’s biggest selling solo singles and was very well-received at the time of its release. I remember seeing Diana in concert in early 1982, just as Mirror, Mirror debuted as the follow up. WDFFIL got such a huge response she reprised it twice, keeping the audience up on their feet. Definitely a good choice…

[Ollie9]

As regards a crowd pleaser WDFFIL was probably a wise decision. She could have released a version of “Dancing Queen” and it would have scored in 81. It all comes down to musical integrity. It’s a long way from “Upside Down” To 50’s retreads, and i really
can’t imagine another time when that song would have sold so well.
By the time of “So Close” she was already losing the momentum she had generated with the sparkling “Boss” And “diana” sets.
Wrong direction imo.

[Levi Stubbs Tears]

Dreadful decision to release a lame cover version as the first single of her 'new independent career'. Of all the songs on that album, 'Mirror Mirror' should have been the first single, if something even better couldn't have been found.

Would not have been a big hit if it hadn't ridden on the coat-tails of the Chic singles & Endless Love.

[TheMotownManiac]

Dreadful decision to release a lame cover version as the first single of her 'new independent career'. Of all the songs on that album, 'Mirror Mirror' should have been the first single, if something even better couldn't have been found.

Would not have been a big hit if it hadn't ridden on the coat-tails of the Chic singles & Endless Love.

I have to disagree with you. I was disappointed in this record when it came out and I still don’t care for it, but it doesn’t make me cringe. I don’t think it was riding the coattails of anything because the public responded strongly with record sales. Songs that road coattails are in and out of love which rose quickly and dropped immediately, ditto I’m living in shame. Those songs received a lot of AirPlay because of the coattails, but the public did not respond with purchases in kind. Why do you fools did very well in the sales department. Surprisingly well. By the 80s, Radiohead a lot more information at their fingertips to gauge which songs to continue to play. Work that body, was a gigantic disappointment after that long string of hits. Folks weren’t buying it.

[Ollie9]

Work that body, was a gigantic disappointment after that long string of hits. Folks weren’t buying it.

The UK adored “Work That Body reaching number #7 on the pop charts. It did a lot better here then “Mirror Mirror” with the Uk never really embracing that rock sound.
I remember it being all over the airwaves in 82, also making the top ten in Ireland.
It was the cloying “So Close” that brought the string of hits to an abrupt end.

[RanRan79]

I have to disagree with you. I was disappointed in this record when it came out and I still don’t care for it, but it doesn’t make me cringe. I don’t think it was riding the coattails of anything because the public responded strongly with record sales. Songs that road coattails are in and out of love which rose quickly and dropped immediately, ditto I’m living in shame. Those songs received a lot of AirPlay because of the coattails, but the public did not respond with purchases in kind. Why do you fools did very well in the sales department. Surprisingly well. By the 80s, Radiohead a lot more information at their fingertips to gauge which songs to continue to play. Work that body, was a gigantic disappointment after that long string of hits. Folks weren’t buying it.

I'm not so sure about that. Cash Box, which tallied it's positions based on sales, ranked "Fools" at #7, "Shame" at #8 and "In and Out" at #10. Additionally, for "Fools" to have been some big seller in the US, I can find no gold or platinum certification. The album went platinum but it appears the single failed to hit gold status. Of course, as has happened in the Diana Ross discography a few times, the song may have sold exceptionally well in other parts of the world. I don't know exactly how songs ride on the coattails of the ones before it, so I'm not arguing that point. I just don't see much evidence that supports the claim that people ran out and bought "Fools" in some dramatic fashion, compared to some others. I would also offer that "Fools" isn't any more present in the conscious of the general public​ than either "Shame" or "In and Out".

[Boogiedown]

I was wondering what the competition was on the Top 40 at the time: It was still a pretty good period for Top 40 , some big records, big names :



CASH BOX TOP 100 SINGLES
November 28, 1981


1 PHYSICAL--- OLIVIA NEWTON -JOHN [[MCA -51182) 1 9
2 PRIVATE EYES ---DARYL HALL & JOHN OATES [[RCA PB -12296) 2 14
3 WAITING FOR A GIRL LIKE YOU--- FOREIGNER [[Atlantic 3868) 4 8
4 ARTHUR'S THEME [[BEST THAT YOU CAN DO)--- CHRISTOPHER CROSS [[Warner Bros. WBS 49787) 3 16
5 HERE I AM--- AIR SUPPLY [[Arista AS 0626) 7 11
6 START ME UP--- ROLLING STONES [[Rolling Stones/Atlantic RS 21003) 5 15
7 OH NO--- COMMODORES [[Motown M 1527F) 8 11
8 EVERY LITTLE THING SHE DOES IS MAGIC ---THE POLICE [[A&M 2371) 9 10
9 YOUNG TURKS ---ROD STEWART [[Warner Bros. WBS 49843) 15 7
10 WHY DO FOOLS FALL IN LOVE?---DIANA ROSS [[RCA PB -12349)


RCA was doing pretty good : Besides Diana Ross:
Two H&O records in the Top 40, #2 and I CAN"T GO FOR THAT racing up at #22, Rick Springfield their current hot property at #12, and a surprise hit, HOOKED ON CLASSICS entering the Top 40 at #33 , and Ronnie Milsap at #39.


Added:

The Four Tops are also on here #14 --- WHEN SHE WAS MY GIRL
Rick James now drops off with SUPERFREAK

and ENDLESS LOVE is still on the Top 40 @ #38 , just now falling from last week's position of #6

......so yes i think some coat-tailing here is a fair observation

[TheMotownManiac]

I'm not so sure about that. Cash Box, which tallied it's positions based on sales, ranked "Fools" at #7, "Shame" at #8 and "In and Out" at #10. Additionally, for "Fools" to have been some big seller in the US, I can find no gold or platinum certification. The album went platinum but it appears the single failed to hit gold status. Of course, as has happened in the Diana Ross discography a few times, the song may have sold exceptionally well in other parts of the world. I don't know exactly how songs ride on the coattails of the ones before it, so I'm not arguing that point. I just don't see much evidence that supports the claim that people ran out and bought "Fools" in some dramatic fashion, compared to some others. I would also offer that "Fools" isn't any more present in the conscious of the general public​ than either "Shame" or "In and Out".

highest chart position is certainly a strong barometer of level of success, but it is Often not the whole story.

in and out of love rocketed into the top ten on the coattails of Reflections. It got its Reflections boost, couldn’t sustain, and died a quickie.

In And Out *65, *47, *29, *13, *9, 9, 12, 21 8 weeks

Ditto

Shame. *47, *22, *15, 11, 10, 12, 21, 29 8 weeks

* Bullet

A month or so is all that’s needed to see if a record is strong on its own merits. in the 60’s, Herman’s Hermits and Gary Lewis both usually shot up fast and died quickly. For our purposes:

‘Fools launches on the strength of her recent mammoth success, but the public responded and sustained it into a very successful record with legs.
Fools is white hot longer than the total chart life of the others.
Fools total chart life is 150% longer
Fools’ fade is very indicative of a strong record. Even its fade is longer than the chart life of the other two.

Fools. @56, @38, @28, @21, @14, @12, @10, @9, @8, @7, 7, 7, 15, 25, 27, 42, 79, 75, 96, 99 20 weeks

@White Hot Bullet [[strongest surge)
* Bullet

[florence]

Love it!

One of my top 10 Diana singles [[even if it is at #10!)

It's just a great slice of pop - upbeat, bouncy and high-spirited and perfect for her debut single. It made me feel good.

It was tailor-made for UK radio - I would hear it on the Radio 1 Breakfast Show and go to work with a smile on my face.

It was the video with Diana dancing in the Las Vegas Streets which really made the record go BIG in the UK - one of her top 5 biggest selling singles here and it was #1 in both The Netherlands and Belgium.

I love it just as it is.

[Deepdishus2001]

We can debate artistic merits but it really didn’t ride the coattails of the The Boss or Diana 80. If it was just that, the single would have risen and dropped quickly.

It stayed in the Billboard Top Pop 40 for 14 weeks. The Boss spent 9 weeks, Upside Down-17 weeks, I’m Coming Out-14 weeks, It’s My Turn-15 weeks, Endless Love-19 weeks. It was a big hit and the general public clearly did enjoy it. Also, Mirror Mirror, in my opinion, stands up to anything in her first or second Motown stints. Great track and great performance. It was played a lot on NYC radio when it was released.

[JohnnyB]

We can debate artistic merits but it really didn’t ride the coattails of the The Boss or Diana 80. If it was just that, the single would have risen and dropped quickly.

It stayed in the Billboard Top Pop 40 for 14 weeks. The Boss spent 9 weeks, Upside Down-17 weeks, I’m Coming Out-14 weeks, It’s My Turn-15 weeks, Endless Love-19 weeks. It was a big hit and the general public clearly did enjoy it. Also, Mirror Mirror, in my opinion, stands up to anything in her first or second Motown stints. Great track and great performance. It was played a lot on NYC radio when it was released.

Thanks for providing these chart statistics. While the momentum of her previous hits got WDFFIL airplay, that momentum did not lead to record sales. The public obviously enjoyed the record and responded with their wallets.

[Levi Stubbs Tears]

WDFFIL had one benefit that most of Diana's most recent [[and superior) singles didn't have. A music video. Something that helped its' chart performance and chart longevity, especially outside the US.

The one thing that was a positive of the RCA era was music videos for most singles.

I can only imagine how much more successful songs like Upside Down or I'm Coming Out would have been with the benefit of the same.

[Nitro2015]

I do think it's a great single. Not innovative or groundbreaking, but really enjoyable, bright, and very radio-friendly. It was a worldwide hit and Diana seems to like it. It's one of the few 80's songs she still performs to this day.


It's a cover of a 50's song but it fitted early 80's radio formats perfectly. And, if we look closely, it started a trend: many 80's smash hits were cover songs or new songs inspired by the late '50s and '60s. Wham!, Phill Collins and many others did the same thing Diana started in 1981. Sometimes I think Diana does not get the credit she deserves. She was a visionary with her WDFFIL in 1981.


For me, it stood well the test of time.

[RanRan79]

I do think it's a great single. Not innovative or groundbreaking, but really enjoyable, bright, and very radio-friendly. It was a worldwide hit and Diana seems to like it. It's one of the few 80's songs she still performs to this day.


It's a cover of a 50's song but it fitted early 80's radio formats perfectly. And, if we look closely, it started a trend: many 80's smash hits were cover songs or new songs inspired by the late '50s and '60s. Wham!, Phill Collins and many others did the same thing Diana started in 1981. Sometimes I think Diana does not get the credit she deserves. She was a visionary with her WDFFIL in 1981.


For me, it stood well the test of time.

I don't know if I would give Diana credit for the start of that "trend". That was the nature of music. All throughout the 50s and 60s artists were covering popular tunes of the 30s and 40s. And then the 60s and 70s crowd were covering popular tunes of the 50s and 60s. Disco has a number of disco-fied 50s and 60s tunes. The 80s wouldn't have been any different without Diana covering "Fools".

[Nitro2015]

I don't know if I would give Diana credit for the start of that "trend". That was the nature of music. All throughout the 50s and 60s artists were covering popular tunes of the 30s and 40s. And then the 60s and 70s crowd were covering popular tunes of the 50s and 60s. Disco has a number of disco-fied 50s and 60s tunes. The 80s wouldn't have been any different without Diana covering "Fools".

I have the impression pop music as we know today really started in the 1960s... I think the 1980s was the first decade in pop music that retro songs started to score big.

In the 1960s or 1970s artists could cover songs from previous decades, but it wasn't really a pop music trend or a commercial trick.

Probably you do have a point, Diana wasn't the sole reason for the 80's trend of retro songs with a contemporary feel dominating radio but she was one of the first, if not the first, superstar to do it. And it was a bold and controversial move in her career.

[Sotosound]

So how do you all really feel about Diana's first RCA single release, her cover of Why do Fools Fall in Love? it was a top ten hit. It's a good song, This version certainly has plenty of hooks and ear worms. But I find the production and music chintzy and hasn't aged well, like her Motown output of the 60s and 70s.

I also think I understand why it was her first single on RCA. It was the beginning of next stage of her career. Frankie Lymon and the Teenagers were a big influence on her as a teen so I think maybe doing this song was an homage to the music that got her started singing and performing in the first place.

This certainly wasn't what I expected after the Chic album or any of the Michael Masser ballads that came out sounding like old, previously unreleased recordings.

Instead, it's a great and well-known melody, well-arranged, well-played, well-performed, and well-produced. All in all, a great track with an optimistic and bouncy feel to brighten up one's day.

As a first single with RCA - Capitol in the UK - I can't really fault it, as it was just so sunny and fresh.

It doesn't move pop music or soul music forward in any big way, but I doubt that it was meant to.

Put simply, a great little pop record.

That's a "Yes!" from me, by the way.

[SatansBlues]

Why Do Fools Fall In Love came out about a month after I purchased my very first album by the Supremes and is the first 45 that I ever bought. I loved it the first time that I heard it. To me it was a throwback to her earlier days with the Supremes. I never tire of hearing it when it's played or when she sings it in concert. The song sits nicely in her songbook. My parents bought me the album for my birthday in October and I still have it and its still one of my favorite albums by her.

[PeaceNHarmony]

Why Do Fools Fall In Love came out about a month after I purchased my very first album by the Supremes and is the first 45 that I ever bought. I loved it the first time that I heard it. To me it was a throwback to her earlier days with the Supremes. I never tire of hearing it when it's played or when she sings it in concert. The song sits nicely in her songbook. My parents bought me the album for my birthday in October and I still have it and its still one of my favorite albums by her.

What wonderful memories for you, SB! Thanks for sharing. I hope you and your family are well.

[RanRan79]

Horrible version of this great song. The most karaoke sounding song she's ever recorded, until a few of the I Love You cuts. I've made my displeasure of "Pieces Of Ice" well known in the forum. I think I can actually say I'd rather listen to "Ice" than "Fools". The execution is almost horrible. Diana sounds weak and the track matches it. I would've gone with "Mirror" as the first single if I only have what we have released to go on. But I do think "Fools" had the potential to be a good move. Had Diana decided to go with a funky track, one where she could really sink her teeth into the lyrics, the song could've been killer. This pop fluff sucks.

But it did put money in her account. And there's apparently people who are quite fond of it. As mentioned in the "Nothing But Heartaches" thread, chart position does not preclude a song from being good. I'll offer "Fools" as an example of the same thing on the other side of the coin. Hit status and seller does not equate good music. But I'm glad somebody likes it. Me? There are a number of other Diana RCA tunes that I fondly play.

[Ollie9]

Horrible version of this great song. The most karaoke sounding song she's ever recorded, until a few of the I Love You cuts. I've made my displeasure of "Pieces Of Ice" well known in the forum. I think I can actually say I'd rather listen to "Ice" than "Fools". The execution is almost horrible. Diana sounds weak and the track matches it. I would've gone with "Mirror" as the first single if I only have what we have released to go on. But I do think "Fools" had the potential to be a good move. Had Diana decided to go with a funky track, one where she could really sink her teeth into the lyrics, the song could've been killer. This pop fluff sucks.

But it did put money in her account. And there's apparently people who are quite fond of it. As mentioned in the "Nothing But Heartaches" thread, chart position does not preclude a song from being good. I'll offer "Fools" as an example of the same thing on the other side of the coin. Hit status and seller does not equate good music. But I'm glad somebody likes it. Me? There are a number of other Diana RCA tunes that I fondly play.

Agree 100% Ran. I guess like “I Will Survive”, it’s a song peeps are familiar with. It will always make for a good singalong no matter what. I had assumed when she was handed creative control by rca that she was really going to spread her musical wings. Instead we got a sickly 50’s retread...Hmmm.

[Boogiedown]

interesting the added cheering on the video version at the end ....


what does Diana say at the very end ? "hey , keep that"....?

I'm only now noticing this same bouncy rhythm sound on WHY DO FOOLS as others from about that same period ... that was first [?] started by WHAT A FOOL BELIEVES





was there a term for this style??

[Deepdishus2001]

Thanks for providing these chart statistics. While the momentum of her previous hits got WDFFIL airplay, that momentum did not lead to record sales. The public obviously enjoyed the record and responded with their wallets.

You’re welcome. It was just to provide some clarity. The single was a big hit and the album went platinum plus. Again, artistic merit can always be debated. As they say one person’s trash is another’s treasure. There just seems to be a lot of attempts to correct or disparage each other’s opinions here sometimes.

[after you]

Horrible my —— it’s a great song and only a true Diana Ross hater would spew such venom why even talk to crazy this is a great song one can always tell who the haters are enjoy your hated day with a little bit of Arthritis lol

[Levi Stubbs Tears]

only a true Diana Ross hater would spew such venom .... enjoy your hated day with a little bit of Arthritis lol

Wow.... 'Spreadin' Love'...

[Sotosound]

Wow.... 'Spreadin' Love'...

Lol. Agreed.

There's a great old Bo Diddley song called "Who Do You Love?" but, happily, I've not come across one called "Who Do You Hate?", which is a sentiment that I can't empathise with.

One post here could also do with a touch of Victor Borge's 'Phonetic punctuation'.

Also, all this thread is about really is whether or not members like a song. Not really a reason to get nasty with anyone.

[Levi Stubbs Tears]

Lol. Agreed.

Also, all this post is about really is whether or not members like a song. Not really a reason to get nasty with anyone.

Agreed.

Also, I only just noticed the OP is called 'spreadinglove' lol

[RanRan79]

Also, all this post is about really is whether or not members like a song. Not really a reason to get nasty with anyone.

The unhinged will find any reason to get nasty. The block button comes in handy and I utilized it on that particular screename [[as well as it's more senior status alter ego) as soon as it became apparent that it's job in the forum was to disrupt, not bring forth healthy discussions on the subject of music as it relates to the Supremes and it's members.

[144man]

Horrible my —— it’s a great song and only a true Diana Ross hater would spew such venom why even talk to crazy this is a great song one can always tell who the haters are enjoy your hated day with a little bit of Arthritis lol

You really must learn to improve your insults.
Your remark wasn't addressed to me, but I, for one, am proud of every arthritic bone in my body.
What on earth do they teach you in school in Canada?

[jobeterob]

You really must learn to improve your insults.
Your remark wasn't addressed to me, but I, for one, am proud of every arthritic bone in my body.
What on earth do they teach you in school in Canada?

Canada? Cannot be! Um, should not be.

[jim aka jtigre99]

I think Diana Ross did a credible job on the song. Remember the times, we were just a few years away from the 70's where there was a revival of the 50's with shows like Happy Days and movie like Grease. Both Diana Ross and Mary Wilson cited Frankie Lymon as an influence, Wilson pantomimed to their song I am not a Juvenille Delinquent when she met Florence at a talent show. Why wouldn't Miss Ross want to pay homage to a major influence on her? I much prefer Mirror, Mirror as a single which had a lot more weight and contemporary sound but taking in the times, I can see why she chose it. It certainly was very pleasant and much better than some of her RCA releases. Enjoyable.

[RanRan79]

I think Diana Ross did a credible job on the song. Remember the times, we were just a few years away from the 70's where there was a revival of the 50's with shows like Happy Days and movie like Grease. Both Diana Ross and Mary Wilson cited Frankie Lymon as an influence, Wilson pantomimed to their song I am not a Juvenille Delinquent when she met Florence at a talent show. Why wouldn't Miss Ross want to pay homage to a major influence on her? I much prefer Mirror, Mirror as a single which had a lot more weight and contemporary sound but taking in the times, I can see why she chose it. It certainly was very pleasant and much better than some of her RCA releases. Enjoyable.

The idea of Ross starting off the next phase of her career with a 50s throwback was a bit genius IMO. It's the execution that bugs me. "Fools" was an important part of her early music love. Previously I've offered in the forum the opinion that "There Goes My Baby" would've made an even better single than "Fools", but either one, being important to the Ross story, makes sense.

Diana has a reputation by some for being a weak singer, which is ridiculous if one really pays attention to her recorded as well as live work. She has a thin voice, which people erroneously equate with weakness. This song did her no favors in that regard. It's almost a different singer from The Boss to diana80 to "Fools". I just can't stand it. But in the end can one argue against it too hard, considering the fact that it was a big hit and it's still- apparently- a crowd pleaser? This just isn't the Diana Ross I particular prefer.

[Ollie9]

I just can't stand it. But in the end can one argue against it too hard, considering the fact that it was a big hit and it's still- apparently- a crowd pleaser? This just isn't the Diana Ross I particular prefer.

Nicely put. As with you, it’s not the Diana i prefer, but if there are folks who enjoy it then all is good and well. The song certainly possesses the marmite factor.