I'm done with Supfan. I let him have his moments when it comes to his disdain for Smokey Robinson compositions, but I draw the line at his attitude toward Stevie. I think this is a blockable offense and I encourage the rest of the forum to put him on ignore, ice him out. He does not belong here.
But seriously, I will say, that while I don't view Diana as any less of an artist as Stevie because he has other facets of his talent that she may not possess [[and vice versa), for me there's no comparison in Stevie's works during the 70s and Diana's. With Lady Sings you have her recording someone else's already established works. Unlike with some previous work, like the Sam Cooke sessions, the R&H sessions, the FG sessions, where Diana [[and group) could be categorized as re-interpreting previously recorded songs, with Lady Sings, the point was get as close to Billie Holliday as Diana could. Sure, she still Diana'd the songs, but clearly she was trying to get her phrasing and such to mimic Lady Day as opposed to taking those same songs and putting her own spin on them, like she does with cuts from Blue.
I do think had TMITM been fleshed out into a two album set [[and not including the baby theme, which I think was a bad idea), it very well could have been her What's Going On or Songs In the Key of Life. I really think the only reason why it isn't viewed that way as is, is because [[a) she didn't write any of the songs, and unfortunately people view singer/songwriters as being greater than interpreters of song, [[b) perhaps too many covers, [[c) only one single and really nothing else on the album that could've matched or surpassed the success of the title cut, [[d) it's a mood album. WGO works because it was so relevant. Key works because from start to finish the vibe is everywhere and everything. TMITM is a soak in the tub with a glass of wine after a hard day's work type of album. It just doesn't hit the same.
But I'd love to see the album get more of the respect it deserves.
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