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Diana Ross – Motown Albums 1970-1980 (10CD) (Japanese Mini-LP SHM-CD Remastered Reissue 2012) [FLAC]
EAC | FLAC | Image (Cue&Log),Scans | 3.9 Gb (incl 5%)
Genre: R&B, Soul, Pop, Disco, Dance | Label: Motown Records/Universal Music Japan | Time: 06:06:55
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Cardboard sleeve reissue from Diana Ross featuring the high-fidelity SHM-CD format. Part of a ten-album Diana Ross SHM-CD cardboard sleeve reissue series featuring albums “Ain’t No Mountain High Enough”, “Everything Is Everything”, “Surrender”, “Touch Me In The Morning”, “Last Time I Saw Him”, “Diana Ross”, “Baby It’s Me”, “Ross”, “The Boss” and “Diana”.
As a solo artist, Diana Ross is one of the most successful female singers of the rock era. If you factor in her work as the lead singer of the Supremes in the 1960s, she may be the most successful. With her friends Mary Wilson, Florence Ballard, and Barbara Martin, Ross formed the Primettes vocal quartet in 1959. In 1960, they were signed to local Motown Records, changing their name to the Supremes in 1961. Martin then left, and the group continued as a trio. Over the next eight years, the Supremes (renamed “Diana Ross and the Supremes” in 1967, when Cindy Birdsong replaced Ballard) scored 12 number one pop hits. After the last one, “Someday We’ll Be Together” (October 1969), Ross launched a solo career.
Motown initially paired her with writer/producers Nickolas Ashford and Valerie Simpson, who gave her four Top 40 pop hits, including the number one “Ain’t No Mountain High Enough” (July 1970). Ross branched out into acting, starring in a film biography of Billie Holiday, Lady Sings the Blues (November 1972). The soundtrack went to number one, and Ross was nominated for an Academy Award.
She returned to record-making with the Top Ten album Touch Me in the Morning (June 1973) and its chart-topping title song. This was followed by a duet album with Marvin Gaye, Diana & Marvin (October 1973), that produced three chart hits. Ross acted in her second movie, Mahogany (October 1975), and it brought her another chart-topping single in the theme song, “Do You Know Where You’re Going To.” That and her next number one, the disco-oriented “Love Hangover” (March 1976), were featured on her second album to be titled simply Diana Ross (February 1976), which rose into the Top Ten.
Ross’ third film role came in The Wiz (October 1978). The Boss (May 1979) was a gold-selling album, followed by the platinum-selling Diana (May 1980) (the second of her solo albums with that name, though the other, a 1971 TV soundtrack, had an exclamation mark). It featured the number one single “Upside Down” and the Top Ten hit “I’m Coming Out.”
Ross scored a third Top Ten hit in 1980 singing the title theme from the movie It’s My Turn. She then scored the biggest hit of her career with another movie theme, duetting with Lionel Richie on “Endless Love” (June 1981). It was her last big hit on Motown; after more than 20 years, she decamped for RCA. She was rewarded immediately with a million-selling album, titled after her remake of the old Frankie Lymon and the Teenagers hit, “Why Do Fools Fall in Love,” which became her next Top Ten hit. The album also included the Top Ten hit “Mirror, Mirror.”
Silk Electric (October 1982) was a gold-seller, featuring the Top Ten hit “Muscles,” written and produced by Michael Jackson, and Swept Away (September 1984) was another successful album, containing the hit “Missing You,” but Ross had trouble selling records in the second half of the 1980s. By 1989, she had returned to Motown, and by 1993 was turning more to pop standards, notably on the concert album Diana Ross Live: The Lady Sings…Jazz & Blues, Stolen Moments (April 1993).
Motown released a four-CD/cassette box set retrospective, Forever Diana, in October 1993, and the singer published her autobiography in 1994. Take Me Higher followed a year later, and in 1999 she returned with Every Day Is a New Day. 2000′s Gift of Love was promoted by a concert tour featuring the Supremes, although neither Mary Wilson nor Cindy Birdsong appeared — their roles were instead assumed by singers Lynda Laurence and Scherrie Payne, neither of whom had ever performed with Ross during the group’s glory days. In 2006 Motown finally released Ross’ lost album Blue, a collection of standards originally intended as the follow-up to Lady Sings the Blues. The album I Love You from 2007 featured new interpretations of familiar love songs. That same year the cable television network BET honored Ross with their Lifetime Achievement Award.
Biography by William Ruhlmann, Allmusic.com
Diana Ross (1970) Japanese Mini-LP SHM-CD Remastered Reissue 2012
Label: Motown Records/Universal Music Japan | # UICY-75381 | Time: 00:38:17
“Her self-titled debut LP (later retitled Ain’t No Mountain High Enough after the single became a hit) was arguably her finest solo work at Motown and perhaps her best ever; it was certainly among her most stunning. Everyone who doubted whether Diana Ross could sustain a career outside the Supremes found out immediately that she would be a star. The single “Reach Out and Touch (Somebody’s Hand)” remains a staple in her shows, and is still her finest message track.
Review by Ron Wynn, Allmusic.com
”
Tracklist:
01. Reach Out And Touch (Somebody’s Hand) (03:06)
02. Now That There’s You (03:31)
03. You’re All I Need To Get By (03:27)
04. These Things Will Keep Me Loving You (03:09)
05. Ain’t No Mountain High Enough (06:19)
06. Something On My Mind (02:25)
07. I Wouldn’t Change A Thing (03:19)
08. Keep An Eye (03:15)
09. Where There Was Darkness (03:17)
10. Can’t It Wait Until Tomorrow (03:16)
11. Dark Side Of The World (03:08)
Everything Is Everything (1970) Japanese Mini-LP SHM-CD Remastered Reissue 2012
Label: Motown Records/Universal Music Japan | # UICY-75382 | Time: 00:39:17
“Fresh from her career-defining role in the Supremes, Motown issued Diana Ross’ Everything Is Everything in 1970, within months of her self-titled solo debut of earlier the same year. This time, veteran Motown multitasker Deke Richards was brought in with hopes of equaling the unqualified success that the staff team of Nickolas Ashford and Valerie Simpson had with Diana Ross — particularly the songs “Reach Out and Touch (Somebody’s Hand)” and “Ain’t No Mountain High Enough.” Although Everything Is Everything failed to exceed — or even meet — the chart achievements of its long-playing predecessor, many enthusiasts consider it to be a worthy companion. Rather than drawing exclusively from their stable of in-house writers, Richards split the duties between himself and a variety of Hitsville U.S.A. stalwarts — including Berry Gordy and Marvin Gaye — as well as significant outside input from the likes of John Lennon-Paul McCartney, Burt Bacharach-Hal David, and fellow Motor City soul stirrer Aretha Franklin. The upbeat opener, “My Place,” swings steadily behind the frisky rhythm section — replete with Jack Ashford’s signature timekeeping on tambourine. Sprightly strings underscore Ross’ similarly agile and inviting lead vocals. In deference to the pink glamour shot adorning the front, Ross reveals an earthier image on the funky “Ain’t No Sad Song.” It is a perfect example of producer Hal Davis’ ability to capture the essence of the singer’s sensuality, a feat he repeated to even greater effect a few years later on his production of the R&B/pop crossover chart-topper “Love Hangover.”
The infectiously cheery “Everything Is Everything” has the slightly quirky feel of a Laura Nyro composition, although it was actually written by a female friend of Berry Gordy. The Marvin Gaye-Anna Gaye co-penned “Baby It’s Love” is one of several outstanding deep cuts flawlessly blending the unmistakably vintage Motown sound with a comparatively modern arrangement. Underneath Gene Page’s silky strings is the midtempo ballad “I’m Still Waiting.” Although the softer selection didn’t make too much of an impression stateside, it went to the top of the singles survey in the U.K., resurfacing in their pop countdown — in a remix form — nearly two decades later. One of Richards’ laudable achievements on the disc is the return to the well-established Motown vibe on the phonetically monikered “Doobedood’ndoobe, Doobedodd’ndoobe, Doobedood’ndoo.” On the other hand, the Beatles remakes show contrasting sides to Ross’ talents. “Come Together” pulls no punches with an extended brassy and sassy reading directly contrasting the empathetic and heartfelt take of “The Long and Winding Road.” As good as those upgrades are, it is Ross and Richards’ sultry collaboration on Aretha Franklin’s “I Love You (Call Me)” that may arguably be the finest contribution from either participant. Everything Is Everything concludes with the charming filler “How About You” and “(They Long to Be) Close to You.” The latter indeed shimmers while showcasing Ross’ interpretive talents, yet ultimately lacks the sincerity and believability of the Carpenters’ take of the Bacharach-David staple.
Review by Lindsay Planer, Allmusic.com
”
Tracklist:
01. My Place (02:48)
02. Ain’t No Sad Song (02:42)
03. Everything Is Everything (02:31)
04. Baby It’s Love (03:13)
05. I’m Still Waiting (03:47)
06. Doobedood’ndoobe, Doobedood’ndoobe, Doobedood’ndoo (04:54)
07. Come Together (05:39)
08. The Long And Winding Road (03:26)
09. I Love You (Call Me) (03:22)
10. How About You (02:51)
11. (They Long To Be) Close To You (04:00)
Surrender (1971) Japanese Mini-LP SHM-CD Remastered Reissue 2012
Label: Motown Records/Universal Music Japan | # UICY-75383 | Time: 00:38:57
“A nice early-’70s date from Diana Ross, who at that time was unaffected by her diva/show business persona and was sticking to singing. She turned in effective, unadorned, soulful leads on several songs, with the title tune cracking the R&B Top 20 and pop Top 40. Ross would later turn to a more exaggerated, self-conscious, mock-sophisticate style, but on her early Motown albums, she retained the mix of innocence, anguish, and sexiness that made her a legendary vocalist.
Review by Ron Wynn, Allmusic.com
”
Tracklist:
01. Surrender (02:53)
02. I Can’t Give Back The Love I Feel For You (03:19)
03. Remember Me (03:22)
04. And If You See Him (02:53)
05. Reach Out, I’ll Be There (05:28)
06. Didn’t You Know (You’d Have To Cry Sometime) (03:05)
07. A Simple Think Like Cry (03:02)
08. Did You Read The Morning Paper? (03:49)
09. I’ll Settle For You (03:06)
10. I’m A Winner (03:12)
11. All The Befores (04:43)
Touch Me In The Morning (1973) Japanese Mini-LP SHM-CD Remastered Reissue 2012
Label: Motown Records/Universal Music Japan | # UICY-75384 | Time: 00:36:55
“Arriving after Lady Sings the Blues, Touch Me in the Morning trades easily on Diana Ross’ status as a superstar. Grandiose and slick without being cloying, soft and seductive while retaining soul, the album veers away from R&B toward adult contemporary, a sound fitting a cross-platform, cross-genre star such as Ross, and the telling thing about Touch Me in the Morning is that for as soft as its surfaces are, this isn’t quite a makeout record thanks in part to the trace DNA from its origins as a concept album Diana Ross conceived for her children. This record, fittingly called To the Baby, didn’t appear until Hip-O Select reissued Touch Me in the Morning as an expanded double-disc Expanded Edition in 2010, whereupon it was easy to see just how much the two albums shared: “Brown Baby” shows up as its own track, “My Baby (My Baby My Own),” while “Imagine” is part of the medley with “Save the Children.” Apart from such specifics, the overall tone is indeed similar, particularly in how the music is sentimental without being syrupy, pushing the idea of Diana as a diva who can do it all, but there is a reason why To the Baby was scrapped in favor of Touch Me in the Morning: it lacked a single as sweeping as “Touch Me in the Morning” itself, a signal that it was just slightly too inward-looking to sustain Ross’ monumental success. Sensing that, Berry Gordy once again displayed remarkable commercial instincts, rejiggering the project just enough to turn the LP into something rich, gorgeous, and romantic, something of a slow-dance classic, something that To the Baby, no matter how sincere and interesting it was, couldn’t quite be.
Review by Stephen Thomas Erlewine, Allmusic.com
”
Tracklist:
01. Touch Me In The Morning (03:55)
02. All Of My Life (03:33)
03. We Need You (03:46)
04. Leave A Little Room (03:40)
05. I Won’t Last A Day Without You (03:51)
06. Little Girl Blue (04:00)
07. My Baby (My Baby My Own) (02:47)
08. Imagine (03:03)
09. Medley: Brown Baby / Save The Children (08:17)
Last Time I Saw Him (1973) Japanese Mini-LP SHM-CD Remastered Reissue 2012
Label: Motown Records/Universal Music Japan | # UICY-75385 | Time: 00:32:30
“The early 1970s were a pivotal time for Diana Ross. In 1973 alone — between touring and performing for SRO crowds in Vegas, she managed to record enough material for a number of different projects. Last Time I Saw Him (1973) was just one of several Ross releases that year as she worked on the still unissued To the Baby album, which was filled with songs for her daughters. She also released the hugely popular Touch Me in the Morning (1973), as well as contributed to Diana & Marvin (1973) — an LP’s worth of duets with Marvin Gaye. Last Time I Saw Him is particularly striking as the spotlight belongs on Ross’ remarkable versatility. Although arguably campy, the countrified title composition is larger-than-life thanks to Michael Omartian and Gene Page’s arrangement. They throw in everything but the proverbial kitchen sink with a score that is all over the musical map from Dixieland band jazz to banjo-pickin’ and even an orchestrated string section. The lightweight poppy “No One’s Gonna Be a Fool Forever” is memorable as Ross adopts a Barbra Streisand approach, giving the song enough style as to level out the ersatz instrumentation that hopelessly places the tune squarely in the ’70s. Conversely, the ballads “Love Me” and “Sleepin’” are among the best that Ross has to offer. The latter is marked by a dramatic delivery, suggesting a subtext that would reveal more than the story lets on at face value. She likewise scores on the light and funky love song “When Will I Come Home to You” thanks to a jazzy melody and catchy chorus. “You” is another winner as the gospel-infused redemptive waltz is custom-made for Ross’ emotive reading. One minor caveat being that her spoken recitation comes off a tad too maudlin and actually sounds like an exchanging of vows. Similarly, her remake of the Malvina Reynolds/Harry Belafonte lullaby “Turn Around” — which had initially been earmarked for the aforementioned To the Baby — suffers from the same melodramatic dysfunction. Ross returns to form for the upbeat rocker “I Heard a Love Song (But You Never Made a Sound)” with roots reaching deep into a vintage Motown groove. “Stone Liberty” continues with an empowering R&B statement that might have been penned for the emergent women’s liberation movement, but works equally as well as a personal declaration of freedom for all oppressed peoples. Wrapping things up is a cover of “Behind Closed Doors,” which Ross turns into a soulful number giving the lyrics a bit of a lilt woefully absent from Charlie Rich’s hit version.
Review by Lindsay Planer, Allmusic.com
”
Tracklist:
01. Last Time I Saw Him (03:10)
02. No One’s Gonna Be A Fool Forever (03:25)
03. Love Me (02:56)
04. Sleepin’ (04:41)
05. You (04:19)
06. Turn Around (02:28)
07. When Will I Come Home To You (03:14)
08. I Heard A Love Song (But You Never Made A Sound) (02:32)
09. Stone Liberty (02:59)
10. Behind Closed Doors (02:42)
Diana Ross (1976) Japanese Mini-LP SHM-CD Remastered Reissue 2012
Label: Motown Records/Universal Music Japan | # UICY-75386 | Time: 00:35:19
“This self-titled release, issued in February 1976, was Diana Ross’ first album since December 1973′s Last Time I Saw Him. It followed Ross’ starring role in the Berry Gordy-directed Mahogany. That film’s theme, a sweeping Gerry Goffin/Michael Masser ballad sung by Ross, topped Billboard’s Adult Contemporary and Hot 100 charts; though it appeared on the Mahogany soundtrack, it was also included here and leads a set that’s as diverse as Last Time I Saw Him, with a total of nine songs involving 16 songwriters. “I Thought It Took a Little Time (But Today I Fell in Love),” a stately ballad with a commanding chorus, was a Top Five Adult Contemporary hit but wasn’t nearly as successful with R&B radio. “Love Hangover,” with its extended lead-in and hurtling and thumping yet graceful groove, was Ross’ entry into the disco market, where she proved to be a natural fit, and it not only topped the dance chart but the R&B and pop ones as well. “Kiss Me Now” is another highlight, a frisky, showbiz jazz number where Ross feels free enough to throw in a quick impression of Louis Armstrong. That covers the album’s first side. Side two is much more focused, generally sticking to contemporary soul. “One Love in My Lifetime,” yet another one of Ross’ Top Ten R&B singles, is the most notable of the five songs, with the Ashford & Simpson-penned “Ain’t Nothin’ But a Maybe” a close second. Subsequently mired in a couple unfocused patchwork recordings, Ross wouldn’t make another truly fine album until The Boss, written and produced in its entirety by Ashford & Simpson.
Review by Andy Kellman, Allmusic.com
”
Tracklist:
01. Theme From Mahogany (Do You Know Where You’re Going To) (03:24)
02. I Thought It Took A Little Time (But Today I Fell In Love) (03:25)
03. Love Hangover (07:49)
04. Kiss Me Now (02:43)
05. You’re Good My Child (03:37)
06. One Love In My Lifetime (03:40)
07. Ain’t Nothin’ But A Maybe (03:27)
08. After You (04:13)
09. Smile (02:56)
Baby It’s Me (1977) Japanese Mini-LP SHM-CD Remastered Reissue 2012
Label: Motown Records/Universal Music Japan | # UICY-75387 | Time: 00:35:58
“A moderately successful late-’70s album for Diana Ross. She was evolving into celebrity/stardom status, and her albums were increasingly filled with less soulful, more sophisticated, heavily produced and arranged ballads and light pop. She still sounded glorious on most of them, but now the edge, sensuality, and energy that had made her Motown songs classics was steadily eroding in favor of a more stylized, almost show-business kind of singing.
Review by Ron Wynn, Allmusic.com
”
Tracklist:
01. Gettin’ Ready For Love (02:47)
02. You Got It (03:57)
03. Baby It’s Me (03:15)
04. Too Shy To Say (03:16)
05. Your Love Is So Good For Me (04:15)
06. Top Of The World (03:08)
07. All Night Lover (03:35)
08. Confide In Me (03:35)
09. The Same Love That Made Me Laugh (03:58)
10. Come In From The Rain (03:58)
Ross (1978) Japanese Mini-LP SHM-CD Remastered Reissue 2012
Label: Motown Records/Universal Music Japan | # UICY-75388 | Time: 00:39:16
“As a solo artist Diana Ross’ ‘70s recording career was often marred by lack of inspiring material and her film career. Even with her busy schedule she could always release good to great singles like 1976′s “Love Hangover” and “I’m Getting Ready for Love.” As an album artist, at this point, only Lady Sings the Blues, Diana and Marvin and 1977′s Baby It’s Me had displayed all of her gifts. While Ross doesn’t attain that high standard, it at least offers some thoughtful performances. This 1978 set mixes six new tracks with earlier unreleased tracks. Like the Temptations 1975′s House Party, this “throws together” tracks from different years. Although it could be reflected as a desperate tactic, Ross shows that often it can work. The ballads here tend to show her in the best light. The hypnotic and sensual “Never Say I Don’t Love You” boasts one of her most subtle performances. That track along with “Where Did We Go Wrong” and “To Love Again” suggests that a great weepy album filled with strong ballads was just within reach. 1974′s country styled offering, “Sorry Doesn’t Always Make It Right” mixes in extremely well. The dance tracks aren’t as good “Lovin’, Livin’ and Givin’ and a discofied “What You Gave Me” both from 1978, has Ross going through the motions and feigning enthusiasm. (Oddly enough those two tracks appeared on her 1995 anthology.) While Ross isn’t a full-fledged effort, it often captures enough of Ross’ essence to make it recommended.
Review by Jason Elias, Allmusic.com
”
Tracklist:
01. Lovin’, Livin’ & Givin’ (05:12)
02. What You Gave Me (04:58)
03. Never Say I Don’t Love You (03:52)
04. You Were The One (04:05)
05. Reach Out, I’ll Be There (05:32)
06. Sorry Doesn’t Always Make It Right (03:30)
07. Where Did We Go Wrong (04:26)
08. To Love Again (04:06)
09. Together (03:32)
The Boss (1979) Japanese Mini-LP SHM-CD Remastered Reissue 2012
Label: Motown Records/Universal Music Japan | # UICY-75389 | Time: 00:36:08
“While hardly as superfine a Ross vehicle as the Chic-produced Diana of a year later, 1979′s The Boss does offer a few tracks of prime Ashford and Simpson-helmed disco-pop. Foremost among them are the title track (also heard on this augmented CD reissue in an even better 12-inch remix), “No One Gets the Prize,” and “I Ain’t Been Licked.” All three offer a mix of sass and vulnerability that’s among the diva’s most pleasing stances. “All for One” and “I’m in the World” try too hard in their ways to reinvent Ross’s showbizzy anthem “Reach Out and Touch,” but neither truly offends.
Review by Rickey Wright
”
Tracklist:
01. No One Gets The Prize (04:44)
02. I Ain’t Been Licked (04:10)
03. All For One (04:20)
04. The Boss (04:00)
05. Once In The Morning (04:55)
06. It’s My House (04:34)
07. Sparkle (05:22)
08. I’m In The World (04:00)
Diana (1980) Japanese Mini-LP SHM-CD Remastered Reissue 2012
Label: Motown Records/Universal Music Japan | # UICY-75381 | Time: 00:34:21
“Coming off four Top Ten hits in three years for their group Chic, producers Bernard Edwards and Nile Rodgers were the hot R&B/disco team of the day when they wrote and produced Diana Ross’ second album named simply diana. (The first was her 1971 TV soundtrack, Diana!.) The result was Ross’ best-selling album ever, paced by her biggest singles hit yet, “Upside Down,” and its Top Ten follow-up, “I’m Coming Out.” For the most part, disco productions tended to emphasize the beat over the voice, and it might be argued, but for the billing, Ross had been reduced to guest vocalist on her own album. But it was exactly her struggle to retain an identity beyond the groove that made this music more compelling than Chic’s records. diana marked an important comeback for Ross, who had struggled in the late ’70s after the early successes of her solo career. She celebrated by leaving Motown for a six-year, five-album sojourn at RCA.
Review by William Ruhlmann, Allmusic.com
”
Tracklist:
01. Upside Down (04:05)
02. Tenderness (03:52)
03. Friend To Friend (03:19)
04. I’m Coming Out (05:25)
05. Have Fun (Again) (05:57)
06. My Old Piano (03:55)
07. Now That You’re Gone (03:59)
08. Give Up (03:45)
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