Middling albums by Diana Ross?

[Spreadinglove21]

What are albums by Diana Ross you consider middling? That is, they're OK, nothing really bad about the songs/production/performances, but at the same time don't really wow you either. Even the hits or album highlights are a bit underwhelming?

[sup_fan]

i think Diana and Marvin could qualify. there are a couple good tunes but overall the set underdelivered

Ross 83 maybe? it's nice that we finally got an 80s album that was relatively cohesive and were Diana wasn't producer. but overall the material never really jumps out at you

[reese]

LAST TIME I SAW HIM
ROSS [1978]
SILK ELECTRIC
EATEN ALIVE
WORKIN' OVERTIME

I wouldn't call any of these albums truly bad. Some like LTISH and R have some great moments but don't quite hang together.

But some of them like EA and WO just didn't grab me. To this day, if some of these songs from these albums started playing, I wouldn't know what they were. I didn't listen to them enough to get familiar.

[jobeterob]

These comments are fair but Diana and Marvin and Eaten Alive don’t belong in the weaker category for me

[daviddh]

had to think about this , so for me mostly , the RCA out put but i do like Eaten Alive minus the title cut and Ross 83
Last Time I Saw Him was a mess to me .had to redo my playlist.grateful foe the expanded editions to allow me to have the deeper dive into Ross music

[RanRan79]

What are albums by Diana Ross you consider middling? That is, they're OK, nothing really bad about the songs/production/performances, but at the same time don't really wow you either. Even the hits or album highlights are a bit underwhelming?

Going by your definition, I'd say diana80 comes to mind. It's not a bad album at all, it just does nothing for me.

Diana Ross 76 is another one. There are some great highlights for sure, but as a collection, it doesn't work for me.

LTISH has a couple songs I really love, and then some I really don't, and the album sounds like Motown just pulled together some tracks and put out an album, resulting in my not being wowed. But it's not a bad album, per se.

[lucky2012]

Going by your definition, I'd say diana80 comes to mind. It's not a bad album at all, it just does nothing for me.

Diana Ross 76 is another one. There are some great highlights for sure, but as a collection, it doesn't work for me.

LTISH has a couple songs I really love, and then some I really don't, and the album sounds like Motown just pulled together some tracks and put out an album, resulting in my not being wowed. But it's not a bad album, per se.

As Diana says in You Keep Me Hangin, On: Whoa! Whoa! Whoa!

I think Diana Ross 76 and diana 80 are two of her best albums! Never mind that they are two of her best-selling albums. [I realize we're not discussing sales here.] I love everything about the two: production, songs, vocal performance, and the album covers.

I'm going to run for cover now, because I think most of her solo [studio]albums are middling, some bordering on poor [EIE, SE, EA, WO, ILY]

My personal favorites, definitely not middling: Diana Ross 70, Surrender, LSTB, TMITM, Diana Ross 76, BIM, The Boss, diana 80

[TNSUN]

I get excited by every album because Ms.Ross' vocal virtuosity is what I concentrate on.

[daviddh]

i loved DR70,DR 76,BIM,Boss,Diana,TMH,FBTP

[RanRan79]

As Diana says in You Keep Me Hangin, On: Whoa! Whoa! Whoa!

I think Diana Ross 76 and diana 80 are two of her best albums! Never mind that they are two of her best-selling albums. [I realize we're not discussing sales here.] I love everything about the two: production, songs, vocal performance, and the album covers.

I'm going to run for cover now, because I think most of her solo [studio]albums are middling, some bordering on poor [EIE, SE, EA, WO, ILY]

My personal favorites, definitely not middling: Diana Ross 70, Surrender, LSTB, TMITM, Diana Ross 76, BIM, The Boss, diana 80

I feel this way about her RCA albums. They're middling to poor.

My problem with DR76 is "Kiss Me Now", "Smile", "Mahogany" and "After You". Now believe it or not, I love "After You", but I often listen to it apart from the album. I understand why "Mahogany" was included, but they could have limited it to the soundtrack and even used it as an incentive to purchase the greatest hits. "Kiss" and "Smile" throw me off. I don't dislike either one- in fact I think "Smile" is very good- but these songs throw me off while listening to the album. I think the album tracks on the album should have all had a "You're Good Me Child" and "Aint Nothing But a Maybe" vibe in order to have hooked me.

[Bluebrock]

Everything is Everything.
Last time i saw him.
Ross78.
Ross83.
Swept Away.
RHRAB.
Thank You.

All the above albums contained great songs alongside throwaway songs. They are by no means her worst albums. Fools, Silk Electric, Workin' Overtime and I love you are all weaker albums overall, but they all required surgery to make them into good albums.
If truth be told she wasn't that concerned so long as she was making money. She publicly criticised the quality of at least two of her Motown albums, but when she had the opportunity to release strong consistent albums in the 80's she sacrificed quality in favour of a lucrative pay day and i don't think she ever regretted doing that.
In the 90's she finally decided she wanted to take her career seriously again, but Motown USA did not know how to market her product and she was left angry and frustrated by their lack of support.
Nowadays she has very little interest in putting in the work to promote any new product.

[daviddh]

Blubrock
do you think she was used to motown or BG handling everything
not sure how she sees herself

[TNSUN]

Love all the albums. Guess the vocal focus sustains my joy. Like some productions more than others. "He Lives in You" should have been #1 Hit. Love it as much now as in the clubs with sound gardens.

[Albator]

Everything is everything, Touch me in the morning, Diana & Marvin, Diana Ross76, Red hot, Force Behind the Power

- to me bad albums are : last time, Ross 78, WDFFIL, Silk, WO, I love you, thank you.

- good are : Diana Ross, Surrender, Baby it’s me, Boss, diana, Ross83, Swept away, EA, TMH, EDAND

[Bluebrock]

Blubrock
do you think she was used to motown or BG handling everything
not sure how she sees herself

I guess she did kind of throw herself in at the deep end when she left Motown, but she had upped her own input to The Boss and Diana albums so she felt ready to strike out on her own. I still maintain she needed someone to offer advice and input where required but she was sure she could handle it on her own. History perhaps proved that she could not.

[Ollie9]

If truth be told she wasn't that concerned so long as she was making money. She publicly criticised the quality of at least two of her Motown albums, but when she had the opportunity to release strong consistent albums in the 80's she sacrificed quality in favour of a lucrative pay day and i don't think she ever regretted doing that.
In the 90's she finally decided she wanted to take her career seriously again, but Motown USA did not know how to market her product and she was left angry and frustrated by their lack of support.
Nowadays she has very little interest in putting in the work to promote any new product.

From a music fans perspective, it’s a criminal shame that at the peak of her popularity financial gain was her main priority.
I understand she wanted to secure her children’s future, but those first two rca albums really do scream bargain basement. Did she really have so little regard for her legacy?.
It’s interesting that the packaging of those albums appeared not to be affected by any penny pinching around this time.

[Spreadinglove21]

My picks for middling albums: Last Time I saw him, Ross 78, Ross 83, Red Hot Rhythm and Blues, and Take Me Higher.

[sup_fan]

I feel this way about her RCA albums. They're middling to poor.

My problem with DR76 is "Kiss Me Now", "Smile", "Mahogany" and "After You". Now believe it or not, I love "After You", but I often listen to it apart from the album. I understand why "Mahogany" was included, but they could have limited it to the soundtrack and even used it as an incentive to purchase the greatest hits. "Kiss" and "Smile" throw me off. I don't dislike either one- in fact I think "Smile" is very good- but these songs throw me off while listening to the album. I think the album tracks on the album should have all had a "You're Good Me Child" and "Aint Nothing But a Maybe" vibe in order to have hooked me.

while i don't agree, i do recognize your complaints with DR 76. for me the variety does work together but others have stated it's too all over the place.

Love Hangover is so passionate and hot. to me it represents the throws of "the act". the foreplay leading up to the main thing lol

to have Kiss Me Now after that can be jarring. i view it as the playful afterglow. you and your partner are done and in bed, still hot and sweaty but laughing and kissing and goofing off a little now. agree it's not everyone's cup of tea but i think it works.

could there have been other approaches though to the album? definitely

[RanRan79]

while i don't agree, i do recognize your complaints with DR 76. for me the variety does work together but others have stated it's too all over the place.

Love Hangover is so passionate and hot. to me it represents the throws of "the act". the foreplay leading up to the main thing lol

to have Kiss Me Now after that can be jarring. i view it as the playful afterglow. you and your partner are done and in bed, still hot and sweaty but laughing and kissing and goofing off a little now. agree it's not everyone's cup of tea but i think it works.

could there have been other approaches though to the album? definitely

I think Diana could have had perhaps the first "blockbuster" album of her solo career had the song selection been more cohesive. There's no question the album was a success, but it's hard for me to imagine that the average fan loved playing it from beginning to end. To reach back into the vaults for a song from an album that was completed and shelved four or five years ago is a head scratcher. This was the time for "funky" Diana and DR76 kept rising and falling with the occasion.

[sup_fan]

I think Diana could have had perhaps the first "blockbuster" album of her solo career had the song selection been more cohesive. There's no question the album was a success, but it's hard for me to imagine that the average fan loved playing it from beginning to end. To reach back into the vaults for a song from an album that was completed and shelved four or five years ago is a head scratcher. This was the time for "funky" Diana and DR76 kept rising and falling with the occasion.

maybe it's because i have some sort of association between this album and Evening With. i don't know why exactly but i always sort of tie the two together. she sang LH, Mahogany, Smile. Kiss Me Now sort of seems like a playful song a la I Wanna Be Bad from the HBO 1979 show. so i now KMN isn't on the Evening With album but for some reason it is connected in my mind

so DR 76 is sort of a studio version of her live shows to me. a little jazz, her hits, some strong other songs. And each song on the album is well done, none are tunes i just don't like so that also helps marry them together for me i guess.

odd that i find LTISH so patchwork but here for some reason it seems to gel

[sup_fan]

I think Diana could have had perhaps the first "blockbuster" album of her solo career had the song selection been more cohesive. There's no question the album was a success, but it's hard for me to imagine that the average fan loved playing it from beginning to end. To reach back into the vaults for a song from an album that was completed and shelved four or five years ago is a head scratcher. This was the time for "funky" Diana and DR76 kept rising and falling with the occasion.

i do agree though that motown could have used this opportunity to create a blockbuster. DR76 sold incredibly well and is enjoyable. but i'd never suggest it to a casual fan or someone as a "must have" for them to learn about and grow to appreciate DR. ironic given my earlier post about how it seems to easily capture the various sides of DR's talent and styles.

maybe because when LH hit, they just didn't really have any immediate, natural material ready. or at least enough of it to fill an album. One Love is fine enough but IMO it's album filler. not a single. although they could have probably mixed together a better single version than what was actually released, i don't see it as being a lost hit. maybe if Don't Leave Me This Way had actually been recorded on her. the 1-2 punch of these singles would have been mind blowing. in another thread did Bayou say High Inergy's "You Can't Turn Me Off" was intended for Diana? wow. i think it could have also been a super hot Sups song for MSS. but if Diana had recorded it, it would have been amazing here. So an album of LH, YCTMO, DLMTW, One Love, You're good my child, Ain't nothing but a maybe. then a ballad or two. Harmony might have fit pretty well. you still need another track or two

the various Masser tracks like After You, To Love Again, I thought it took etc. are too much of "super lush" ballads IMO. Masser had so much talent that frankly they should have allowed him to produce an entire album. the idea of the Soundtrack including DR leads on Side 1 and then movie music on Side 2 might have worked. but maybe the Masser album should have been the follow up to the revamped DR76 instead of the Richard Perry.

[copley]

Although I have all her Motown recordings none would feature in my Top 200 favs. That's more Motown's fault than hers. I don't own any of her post Motown recordings.

[Ollie9]

For me Diana Ross 76 is the quintessential DR album. Beautiful lush ballads, some thumping disco funk and a sprinkling of mid tempo numbers. Unlike many of her outings for rca, there are no duds on this one. I have always been able to play it from start to finish. Definitely one of her best.

[lucky2012]

I think Diana could have had perhaps the first "blockbuster" album of her solo career had the song selection been more cohesive. There's no question the album was a success, but it's hard for me to imagine that the average fan loved playing it from beginning to end. To reach back into the vaults for a song from an album that was completed and shelved four or five years ago is a head scratcher. This was the time for "funky" Diana and DR76 kept rising and falling with the occasion.

I think DR76 is remarkably cohesive for an album with multiple producers. I find that rare. I think Motown really intended to release a quality album and chose the best tracks [or were incredibly lucky!]. Granted not at first, but I soon was playing it beginning to end. I can still do that occasionally.

DR76 reached #4 on Billboard's album charts, probably due to two #1 hits and a stunning album cover. It wasn't a "blockbuster" like Stevie Wonder's run of albums at the time, but it was very successful. Her only "blockbuster" album, comparable to Barbra Streisand's Guilty or Donna Summer's Bad Girls, was 1980's Diana. [Unless you count the LSTB soundtrack].

I feel the same way as Ollie9:

For me Diana Ross 76 is the quintessential DR album. Beautiful lush ballads, some thumping disco funk and a sprinkling of mid tempo numbers. Unlike many of her outings for rca, there are no duds on this one. I have always been able to play it from start to finish. Definitely one of her best.

[Bluebrock]

From a music fans perspective, it’s a criminal shame that at the peak of her popularity financial gain was her main priority.
I understand she wanted to secure her children’s future, but those first two rca albums really do scream bargain basement. Did she really have so little regard for her legacy?.
It’s interesting that the packaging of those albums appeared not to be affected by any penny pinching around this time.

The packaging of those albums was way more interesting than the music contained within said packaging! A case of style over substance!

[Bluebrock]

For me Diana Ross 76 is the quintessential DR album. Beautiful lush ballads, some thumping disco funk and a sprinkling of mid tempo numbers. Unlike many of her outings for rca, there are no duds on this one. I have always been able to play it from start to finish. Definitely one of her best.

Totally agree. I played the hell out of that album when it was released and it will always hold a special place in my heart. It is definitely one of her best efforts despite so many producers being involved.

[Ollie9]

Totally agree. I played the hell out of that album when it was released and it will always hold a special place in my heart. It is definitely one of her best efforts despite so many producers being involved.

Me to. I received the album for my thirteenth birthday and spent the entire summer of 76 wearing those grooves out while gazing at that stunning lip cover.
All the songs hang together well, and with three Diana classics what’s not to like.
My only gripe being i wish the poignant “After You” had been released as a single, at least in the UK.

[sup_fan]

it's interesting to see how sometimes a multi-producer album works out and sometimes it doesn't

Love Child, Right On, Touch me in the morning, DR 76

but then you have Sunshine, Cream, LTISH, Ross 78

of course at the end of the day, quality songs are mandatory. but in most of the cases of the "dud" albums, i don't think the songs are necessarily bad. it might be timing - Ross 78 had two older songs dropped on it and then the remixes.

[sup_fan]

Me to. I received the album for my thirteenth birthday and spent the entire summer of 76 wearing those grooves out while gazing at that stunning lip cover.
All the songs hang together well, and with three Diana classics what’s not to like.
My only gripe being i wish the poignant “After You” had been released as a single, at least in the UK.

After You is just a beautiful song. an absolute favorite of mine. but i wonder if the song's structure might have held it back from being a huge hit. the verses aren't heavily defined from the choruses. it might have sounded a bit too rambling for radio. but i wouldn't have changed a thing of it. it's just lovely. just maybe not the right vehicle to force into the typical requirements of 45 single

[Ollie9]

After You is just a beautiful song. an absolute favorite of mine. but i wonder if the song's structure might have held it back from being a huge hit. the verses aren't heavily defined from the choruses. it might have sounded a bit too rambling for radio. but i wouldn't have changed a thing of it. it's just lovely. just maybe not the right vehicle to force into the typical requirements of 45 single

I do agree up to a point. The lyrics of “After You” definitely have universal appeal in that most of us have experienced those emotions at some point in our lives. It’s not a rousing heartbreaker in the fashion of “Touch Me In The Morning”, but it’s poignant simplicity might have ended up its biggest strength.

[sup_fan]

I do agree up to a point. The lyrics of “After You” definitely have universal appeal in that most of us have experienced those emotions at some point in our lives. It’s not a rousing heartbreaker in the fashion of “Touch Me In The Morning”, but it’s poignant simplicity might have ended up its biggest strength.

yeah i agree that not every song needs to thunderous climax. The First Time Ever I Saw Your Face doesn't and it's masterful. i agree that After You doesn't need that either. it might actually be marred by it.

song structure isn't universal but there is a typical formula that many, many hits follow:

intro
chorus
Verse 1
chorus
Verse 2
chorus
Bridge
Chorus/ending

most of the mega HDH hits followed this, love child, ladder, stoned love, nathan. heck even Walking sort of follows this formula. mountain doesn't but the single edit is closer to this. upside down really doesn't either but again, it's not mandatory

After You isn't totally without structure its just that the choruses are as clearly delineated as on something like You Can't Hurry Love. without structure, a song runs the risk of sort of meandering. frankly i think After You works with a bid of meandering. it sort of adds to the hopelessness and despair of the song

[TheMotownManiac]

last time I saw him
Ross, 78
Ross, 83
Red hot rhythm and blues
I love you

[TheMotownManiac]

i do agree though that motown could have used this opportunity to create a blockbuster. DR76 sold incredibly well and is enjoyable. but i'd never suggest it to a casual fan or someone as a "must have" for them to learn about and grow to appreciate DR. ironic given my earlier post about how it seems to easily capture the various sides of DR's talent and styles.

maybe because when LH hit, they just didn't really have any immediate, natural material ready. or at least enough of it to fill an album. One Love is fine enough but IMO it's album filler. not a single. although they could have probably mixed together a better single version than what was actually released, i don't see it as being a lost hit. maybe if Don't Leave Me This Way had actually been recorded on her. the 1-2 punch of these singles would have been mind blowing. in another thread did Bayou say High Inergy's "You Can't Turn Me Off" was intended for Diana? wow. i think it could have also been a super hot Sups song for MSS. but if Diana had recorded it, it would have been amazing here. So an album of LH, YCTMO, DLMTW, One Love, You're good my child, Ain't nothing but a maybe. then a ballad or two. Harmony might have fit pretty well. you still need another track or two

the various Masser tracks like After You, To Love Again, I thought it took etc. are too much of "super lush" ballads IMO. Masser had so much talent that frankly they should have allowed him to produce an entire album. the idea of the Soundtrack including DR leads on Side 1 and then movie music on Side 2 might have worked. but maybe the Masser album should have been the follow up to the revamped DR76 instead of the Richard Perry.

I just don’t know what to do with you two!
I can understand ran because he wasn’t around when it came out and there’s simply no way to go back in time and be in the moment. Sup? We usually agree on so much.
However…………

I’ve always felt this was the perfect Diana Ross album. I remember playing it the first time as if it were yesterday. I remember hearing it in the bars that night I loved every song, some more than others, and you could not beat the yardwork. It was the perfect package and I knew it was going to be a smash. I was giddy, listening to I thought it took a little time for the first time I was expecting to hear something new to follow up mahogany anyway, add one minute into the song I knew that would be the follow up . He just kind of had a natural progression to it. We were stunned at love, hangover and I know that kiss me now isn’t everyone’s taste, but it was the perfect track to follow love hangover, because nothing really could. Nowadays love hangovers just another dance record that in February 76 it was a rare, exotic, sumptuous dance record that sounds like nothing else. People fell in love with it instantly, and I don’t know who sequenced the album, but I think they did a great job and as much as I love, sorry doesn’t always make it right, I think that it probably didn’t belong, in the set because too many people were horrified at her doing a country song. I’m sure there were some people that didn’t like kiss me now I can’t recall any pushback from it at the time specifically, but there had to have been some. Mostly, everyone just loved the album to pieces. And it was the album I have been waiting for.. I love hearing your opposing viewpoints - makes me think.

I’m going to include the Rolling Stone review. I often disagree with their reviews, and this is just one person’s opinion, but I think it was pretty much the consensus back in the day. I don’t think the album has aged as well as others ..see below

[TheMotownManiac]

[sup_fan]

I just don’t know what to do with you two!
I can understand ran because he wasn’t around when it came out and there’s simply no way to go back in time and be in the moment. Sup? We usually agree on so much.
However…………

I’ve always felt this was the perfect Diana Ross album. I remember playing it the first time as if it were yesterday. I remember hearing it in the bars that night I loved every song, some more than others, and you could not beat the yardwork. It was the perfect package and I knew it was going to be a smash. I was giddy, listening to I thought it took a little time for the first time I was expecting to hear something new to follow up mahogany anyway, add one minute into the song I knew that would be the follow up . He just kind of had a natural progression to it. We were stunned at love, hangover and I know that kiss me now isn’t everyone’s taste, but it was the perfect track to follow love hangover, because nothing really could. Nowadays love hangovers just another dance record that in February 76 it was a rare, exotic, sumptuous dance record that sounds like nothing else. People fell in love with it instantly, and I don’t know who sequenced the album, but I think they did a great job and as much as I love, sorry doesn’t always make it right, I think that it probably didn’t belong, in the set because too many people were horrified at her doing a country song. I’m sure there were some people that didn’t like kiss me now I can’t recall any pushback from it at the time specifically, but there had to have been some. Mostly, everyone just loved the album to pieces. And it was the album I have been waiting for.. I love hearing your opposing viewpoints - makes me think.

I’m going to include the Rolling Stone review.

now maniac - lol. did you scroll up and see my earlier post on the album? i think you're reading my second post.

i do agree that it's a very excellent album. I don't know that i'd call it a masterpiece though. or grammy award-winning. IMO Touch Me In the Morning [[the album and the song) should have been at least nominated. the entire TMITM package was perfect, and also ironic that it was so many producers. with LH, yes it was a radically new sound and song. but that artistic tone wasn't carried throughout the album. with TMITM you have the first pop music Diana was to record AFTER the amazing foray into jazz. plus she'd married and had a child. plus launched a movie career. so you had this totally different person in 73 and with all of those massive life changes, how would it come through in her music? the TMITM package couldn't have been a more perfect encapsulation of this new person

so now back to DR76. every track is great. but every track isn't this whole new thing. it isn't an entire artistic statement that's being made other than an excellent singer singing excellently to excellent songs. with The Boss lp later, you have, again, all of these personal influences coursing through the project. not every song is on the topic of defiance and rebellion but there's a commonality. DR76 just doesn't quite hit the mark even though it's a wonderful album.

[Spreadinglove21]

That's quite the review and at her best Diana Ross brought a regalness to mid to late 20th century pop music.

[lucky2012]

I remember this review well. The 70's [college years] was when I read and gave some credence to Rolling Stone reviews. I was actually surprised at this review because Rolling Stone never seemed to hold The Supremes and especially Diana Ross in as high esteem as, say, the Ronettes or Martha & the Vandellas, let alone Aretha Franklin, Tina Turner or Gladys Knight, which was fine because these were all favorites of mine.

For me, it just confirmed my own high estimation of the album and Ross, which didn't need to be validated by a rock music magazine.

[Bluebrock]

Me to. I received the album for my thirteenth birthday and spent the entire summer of 76 wearing those grooves out while gazing at that stunning lip cover.
All the songs hang together well, and with three Diana classics what’s not to like.
My only gripe being i wish the poignant “After You” had been released as a single, at least in the UK.

I love After You but i never thought it as a potential hit single. Perhaps it could have followed Love Hangover in the UK or maybe after ITITALT which i absolutely love every bit as much as After You. The "new' version of One love in my lifetime was nowhere near as good as the original album version. Whatever were Motown thinking? Even Diana thought it a crazy decision to release the new version as a single.
Now i am going to have to listen to the album again and transport myself back to 1976.
Happy memories!

[Jaap]

What surprises me in the Rolling Stone review is that Dave Marsh does not mention Love Hangover. Including Love Hangover in it's 7:48 glory, without making the album a full disco album with "disco suites" like Gloria Gaynor's 1975 Never Can Say Goodbye and Donna Summer's 1975 Love To Love You Baby, is a masterstroke, bringing Diana Ross into the disco realm without suggesting that she is merely following Gaynor and Summer. I'm not a big fan of Kiss Me Now -- and it was such an odd B-side to the Love Hangover single -- but it does work, together with Smile, to highlight the versatility of Diana Ross. The overall album is such an eclectic mix, with only one element keeping it all together... the indeed "regal" star image of Ross, which is emphasized by the cover art. Marsh's comment about Ross as "present[ing] herself with taste and control" can be read in context of how the "disco divas" as Gaynor and Summer were perceived at the time. Sophistication would be an apt description of the album. I would have LOVED a full-blown Love Hangover disco album, but I do think Motown made a smart decision with this album to avoid that Ross would be pigeonholed in the disco diva category, as happened with Gaynor and Summer.

[Ollie9]

Many thanks for posting this review MM. Any others would be most welcome.
The only review i can remember is from Black Echoes, a popular black music mag of the time. It was a lukewarm review under the heading ‘Diana’s Frozen Assets’. The only songs they really liked were “Hangover”, “After You” and “Nothing But A Maybe”. Perhaps this ties in with Ran’s preference for a more upbeat album.
At the time of the albums release there was no telling how a song such as “Love Hangover” might be received from Diana. I think it was a wise decision they went for a more eclectic set with something to fall back on.
It remains one my top 5 Diana albums.

[Boogiedown]

Leave it to Dave Marsh to hear disco in AINT NOTHIN BUT A MAYBE [??] while totally ignoring the glaring disco masterpiece found here.
Either it’s another typically flimsy review or this piece got edited, leaving out a segment .

[TheMotownManiac]

That's quite the review and at her best Diana Ross brought a regalness to mid to late 20th century pop music.

it’s not even the review, I’m looking for. There’s another one that I thought was Rolling Stone that said something to the effect, “this is the kind of album, Dionne Warwick, Natalie Cole, and Aretha Franklin you should be making “of course it could be dementia, however, I’m still looking for it because I remember that quote. The album was just perfect for that cold dark February day.

[TheMotownManiac]

[QUOTE=sup_fan;749653]now maniac - lol. did you scroll up and see my earlier post on the album? i think you're reading my second post.

i do agree that it's a very excellent album. I don't know that i'd call it a masterpiece though. or grammy award-winning. IMO Touch Me In the Morning [[the album and the song) should have been at least nominated. the entire TMITM package was perfect, and also ironic that it was so many producers. with LH, yes it was a radically new sound and song. but that artistic tone wasn't carried throughout the album. with TMITM you have the first pop music Diana was to record AFTER the amazing foray into jazz. plus she'd married and had a child. plus launched a movie career. so you had this totally different person in 73 and with all of those massive life changes, how would it come through in …

You’re right sup,I missed it. I agree with you about TMITM. When I played that album for the first time, I almost cried. Here was her first viable, can’t go up against anyone in the business, stupendous album. I know how much the first two Ashford & Simpson albums are loved, and revered, and I certainly love elements about them. But they weren’t competitive in the market TMITM was. I am convinced part of the reason is because people who bought the album on the strength of the single, weren’t disappointed when they heard the other tracks. Side one I had, arguably, five tracks worthy of single release. Side two contained the master vees, brown, baby/save the children. How I wish that would have been promoted, edited and sent out as a single. It might’ve been a smash, or I might’ve been a flop, but it would be very interesting to know. Even the cover art, which, normally I would feel cheated. If that’s all the image we’re going to get of her, fit the mood of the single so much that I figured Motown must have a new art department. I mean, this is only three years after greatest hits, volume three, magnificent, 71 and two. Anyway, diana ross 76, with two obvious number one records, and another certain top 10 was even more competitive.

[RanRan79]

I'm not a big fan of Kiss Me Now -- and it was such an odd B-side to the Love Hangover single -- but it does work, together with Smile, to highlight the versatility of Diana Ross. The overall album is such an eclectic mix, with only one element keeping it all together... the indeed "regal" star image of Ross, which is emphasized by the cover art.

But did we need to highlight Diana's versatility yet again? I feel like anyone who didn't recognize how versatile of an artist Diana Ross was by 1976 just didn't deserve to find out. She had been providing evidence of her versatility to the general public since 1964. I guess I can overlook "Kiss Me Now", but "Smile" was going too far. It had no business being packaged with these other songs IMO.

[RanRan79]

Many thanks for posting this review MM. Any others would be most welcome.
The only review i can remember is from Black Echoes, a popular black music mag of the time. It was a lukewarm review under the heading ‘Diana’s Frozen Assets’. The only songs they really liked were “Hangover”, “After You” and “Nothing But A Maybe”. Perhaps this ties in with Ran’s preference for a more upbeat album.
At the time of the albums release there was no telling how a song such as “Love Hangover” might be received from Diana. I think it was a wise decision they went for a more eclectic set with something to fall back on.
It remains one my top 5 Diana albums.

Ollie my thoughts weren't that the album necessarily had to be more upbeat- although I guess my use of the word "funky" probably gave that impression- but that it needed some more 70s...soul. I love "Took A Little Time" and don't have any problem with it on the album. If they were gonna include "Mahogany", "After You", "Smile", then give the whole album to Masser. This wasn't the time for yet another hodgepodge. But at the end of the day, I'm guessing off the strength of the two #1s, the album succeeded in putting money in Motown's account and keeping Diana Ross relevant, which was ultimately the goal. So who am I to argue?

[RanRan79]

it’s not even the review, I’m looking for. There’s another one that I thought was Rolling Stone that said something to the effect, “this is the kind of album, Dionne Warwick, Natalie Cole, and Aretha Franklin you should be making “of course it could be dementia, however, I’m still looking for it because I remember that quote. The album was just perfect for that cold dark February day.

Which is insane to me because both Aretha and Natalie's albums released that year do it for me much more than Diana's album. But of course it all comes down to personal taste, so I guess not so insane after all.

[RanRan79]

brown, baby/save the children. How I wish that would have been promoted, edited and sent out as a single. It might’ve been a smash, or I might’ve been a flop, but it would be very interesting to know.

I believe I said this exact thing once in the forum, that "Brown Baby/Save the Children" would have been interesting as a single. I could see it hitting big, but I could also see it flopping. Would love to hear someone tackle a single edit for it.

[Ollie9]

Ollie my thoughts weren't that the album necessarily had to be more upbeat- although I guess my use of the word "funky" probably gave that impression- but that it needed some more 70s...soul. I love "Took A Little Time" and don't have any problem with it on the album. If they were gonna include "Mahogany", "After You", "Smile", then give the whole album to Masser. This wasn't the time for yet another hodgepodge. But at the end of the day, I'm guessing off the strength of the two #1s, the album succeeded in putting money in Motown's account and keeping Diana Ross relevant, which was ultimately the goal. So who am I to argue?

I think the time for a more funky, dance orientated album should have been in the followup to ”DR76”. The fact the public welcomed “Love Hangover ” with open arms should have given Motown some indication as to where she should be heading.
”Getting Ready For Love” though a really nice song, doesn’t quite cut the mustard....imo.

[sup_fan]

[QUOTE=TheMotownManiac;749791]

now maniac - lol. did you scroll up and see my earlier post on the album? i think you're reading my second post.

i do agree that it's a very excellent album. I don't know that i'd call it a masterpiece though. or grammy award-winning. IMO Touch Me In the Morning [[the album and the song) should have been at least nominated. the entire TMITM package was perfect, and also ironic that it was so many producers. with LH, yes it was a radically new sound and song. but that artistic tone wasn't carried throughout the album. with TMITM you have the first pop music Diana was to record AFTER the amazing foray into jazz. plus she'd married and had a child. plus launched a movie career. so you had this totally different person in 73 and with all of those massive life changes, how would it come through in …

You’re right sup,I missed it. I agree with you about TMITM. When I played that album for the first time, I almost cried. Here was her first viable, can’t go up against anyone in the business, stupendous album. I know how much the first two Ashford & Simpson albums are loved, and revered, and I certainly love elements about them. But they weren’t competitive in the market TMITM was. I am convinced part of the reason is because people who bought the album on the strength of the single, weren’t disappointed when they heard the other tracks. Side one I had, arguably, five tracks worthy of single release. Side two contained the master vees, brown, baby/save the children. How I wish that would have been promoted, edited and sent out as a single. It might’ve been a smash, or I might’ve been a flop, but it would be very interesting to know. Even the cover art, which, normally I would feel cheated. If that’s all the image we’re going to get of her, fit the mood of the single so much that I figured Motown must have a new art department. I mean, this is only three years after greatest hits, volume three, magnificent, 71 and two. Anyway, diana ross 76, with two obvious number one records, and another certain top 10 was even more competitive.

the album graphics for TMITM are truly perfect. supposedly it was art design for the cancelled Blue project, of which several tracks were used for TMITM and other albums. Little Girl Blue on TMITM is IMO one of the most amazing DR songs ever recorded. so agree that Motown dropped the ball on TMITM by not continuing to push it, release a second or even third single!

i think the art for The Boss is the my favorite of all and damn! it couldn't be more appropriate for the music. Randy's description of her looking that a true 80s Woman was spot on. showing off some leg and chest, no sequins but still so utterly glamorous, the first time with the mane of hair. a defiant look that is still suggestive and appealing. it's not cold or threatening

and the art for DR76 is amazing too. that photo session was so unique and magical. i think the look works perfect with the released music but it also would have worked with my suggestion of reimagining the music a bit.

[sup_fan]

But did we need to highlight Diana's versatility yet again? I feel like anyone who didn't recognize how versatile of an artist Diana Ross was by 1976 just didn't deserve to find out. She had been providing evidence of her versatility to the general public since 1964. I guess I can overlook "Kiss Me Now", but "Smile" was going too far. It had no business being packaged with these other songs IMO.

ah but see maybe you DID with this album. sure diehard fans were more than well aware of her talent and capabilities. but LH was such a phenomenon that it opened her up to a whole new fanbase. new fans that were too young to care much about her back in the 60s now had a reason to care. they might have never even paid attention to what she had been doing before