Hello,
Today's Artists an American singer, actress, and record producer. Born and raised in Detroit, Michigan, Ross rose to fame as the lead singer of the vocal group the Supremes, which, during the 1960s, became Motown's most successful act, and are the best charting girl group in US history,[ as well as one of the world's best-selling girl groups of all time.Following her departure from the Supremes in 1970, the then 26 year old released her eponymous debut solo album that same year, featuring the number-one Pop hit "Ain't No Mountain High Enough". She later released the album Touch Me in the Morning in 1973; its title track reached number 1, as her second solo No. 1 hit. She continued a successful solo career through the 1970s and 80's. ...... N Joy
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The most successful black performers of the '60s, the Supremes for a time rivaled even the Beatles in terms of red-hot commercial appeal, reeling off five number one singles in a row at one point. Critical revisionism has tended to undervalue the Supremes' accomplishments, categorizing their work as more lightweight than the best soul stars' (or even the best Motown stars'), and viewing them as a tool for Berry Gordy's crossover aspirations. There's no question that there was about as much pop as soul in the Supremes' hits, that even some of their biggest hits could sound formulaic, and that they were probably the black performers who were most successful at infiltrating the tastes and televisions of middle America. This shouldn't diminish either their extraordinary achievements or their fine music, the best of which renders the pop vs. soul question moot with its excellence.
The Supremes were not an overnight success story, although it might have seemed that way when they began topping the charts with sure-fire regularity. The trio that would become famous as the Supremes -- Diana Ross, Mary Wilson, and Florence Ballard -- met in the late '50s in Detroit's Brewster housing project. Originally known as the Primettes, they were a quartet (Barbara Martin was the fourth member) when they made their first single for the Lupine label in 1960. By the time they debuted for Motown in 1961, they had been renamed the Supremes; Barbara Martin reduced them to a trio when she left after their first single.
The Supremes' first Motown recordings were much more girl-group-oriented than their later hits. Additionally, not all of them featured Diana Ross on lead vocals; Flo Ballard, considered to have as good or better a voice, also sang lead. Through a lengthy series of flops, Berry Gordy remained confident that the group would eventually prove to be one of Motown's biggest. By the time they finally did get their first Top 40 hit, "When the Lovelight Starts Shining Through His Eyes" in late 1963, Ross had taken over the lead singing for good.
Ross was not the most talented female singer at Motown; Martha Reeves and Gladys Knight in particular had superior talents. What she did have, however, was the most purely pop appeal. Gordy's patience and attention paid off in mid-1964 when "Where Did Our Love Go" went to number one. Written by Holland-Dozier-Holland, it established the prototype for their run of five consecutive number one hits in 1964-1965 (also including "Baby Love," "Stop! In the Name of Love," "Come See About Me," and "Back in My Arms Again"). Ross' cooing vocals would front the Supremes' decorative backup vocals, put over on television and live performance with highly stylized choreography and visual style. Holland-Dozier-Holland would write and produce all of the Supremes' hits through the end of 1967.
Not all of the Supremes' singles went to number one after 1965, but they usually did awfully well, and were written and produced with enough variety (but enough of a characteristic sound) to ensure continual interest. The chart-topping (and uncharacteristically tough) "You Keep Me Hangin' On" was the best of their mid-period hits. Behind the scenes, there were some problems brewing, although these only came to light long after the event. Other Motown stars (most notably Martha Reeves) resented what they perceived as the inordinate attention lavished upon Ross by Gordy, at the expense of other artists on the label. The other Supremes themselves felt increasingly pushed to the background. In mid-1967, as a result of what was deemed increasingly unprofessional behavior, Ballard was replaced by Cindy Birdsong (from Patti LaBelle & the Bluebelles). Ballard become one of rock's greatest tragedies, eventually ending up on welfare and dying in 1976.
After Ballard's exit, the group was billed as Diana Ross & the Supremes, fueling speculation that Ross was being groomed for a solo career. The Supremes had a big year in 1967, even incorporating some mild psychedelic influences into "Reflections." Holland-Dozier-Holland, however, left Motown around this time, and the quality of the Supremes' records suffered accordingly (as did the Motown organization as a whole). The Supremes were still superstars, but as a unit, they were disintegrating; it's been reported that Wilson and Birdsong didn't even sing on their final hits, a couple of which ("Love Child" and "Someday We'll Be Together") were among their best.
In November 1969, Ross' imminent departure for a solo career was announced, although she played a few more dates with them, the last in Las Vegas in January 1970. Jean Terrell replaced Ross, and the group continued through 1977, with some more personnel changes (although Mary Wilson was always involved). Some of the early Ross-less singles were fine records, particularly "Stoned Love," "Nathan Jones," and the Supremes/Four Tops duet "River Deep -- Mountain High." Few groups have been able to rise to the occasion after the loss of their figurehead, though, and the Supremes proved no exception, rarely making the charts after 1972. It is the Diana Ross-led era of the '60s for which they'll be remembered.
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The final Diana Ross & the Supremes' album before Ross' departure, a duet LP with the Temptations (the second for the two groups) came out the same month. This ragtag bunch of vault dwellers and passed over tunes written by the company's third and fourth tier writers and producers has a misleading title: there are few creams and it's a bad crop. The sole star is their scintillating remake of Johnny & Jackey's forgotten "Someday We'll Be Together" -- their last hurrah, and a few other honorable mentions, namely "The Young Folks" and "You Gave Me Love." Despite the shortcomings, it wrangled its way to number 33 on Billboard's Pop Chart.
Diana Ross & The Supremes - Cream Of The Crop (flac 237mb)
01 Someday We'll Be Together 3:32
02 Can't You See It's Me 2:33
03 You Gave Me Love 2:40
04 Hey Jude 3:06
05 The Young Folks 3:12
06 Shadows Of Society 3:11
07 Loving You Is Better Than Ever 2:45
08 When It's To The Top (Still I Won't Stop Giving You Love) 2:57
09 Till Johnny Comes 2:57
10 Blowin' In The Wind 3:07
11 The Beginning Of The End 2:27
(ogg mb)
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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.
Diana Ross - Diana Ross (flac 268mb)
01 Reach Out And Touch (Somebody's Hand) 2:59
02 Now That There's You 3:00
03 You're All I Need To Get By 3:00
04 These Things Will Keep Loving You 2:58
05 Ain't No Mountain High Enough 6:00
06 Something On My Mind 2:23
07 I Wouldn't Change The Man He Is 3:05
08 Keep An Eye 3:050
09 Where There Was Darkness 3:03
10 Can't It Wait Until Tomorrow 3:03
11 Dark Side Of The World 3:00
(ogg mb)
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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." 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. The Beatles remakes show contrasting sides to Ross' talents: "Come Together" pulls no punches with an extended brassy and sassy reading, directly contrasted by the empathetic and heartfelt take of "The Long and Winding Road." Ross and Richards' sultry collaboration on Aretha Franklin's "I Love You (Call Me)" make for the finest contribution here from either participant. 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.
Diana Ross - Everything Is Everything (flac 263mb)
01 My Place 2:46
02 Ain't No Sad Song 2:41
03 Everything Is Everything 2:27
04 Baby It's Love 3:10
05 I'm Still Waiting 3:44
06 Doobedood'ndoobe, Doobedood'ndoobe, Doobedood'ndoo 4:52
07 Come Together 6:37
08 The Long And Winding Road 3:25
09 I Love You (Call Me) 3:22
10 How About You 2:48
11 (They Long To Be) Close To You 4:01
(ogg mb)
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This was Ross's third album and was produced by Nick Ashford and Valerie Simpson who also produced Diana's first smash hit solo album Diana Ross. I never heard of the SURRENDER album, being that I was only one-year old when it was released, and I only knew the song "Remember Me" (which I love!)from this release, but I'm glad that I've discovered this "lost" gem The album itself was not the commercial hit here in the USA that everyone was expecting, reaching #56 on the pop charts, but it's a wonderful collection of songs that follow in the same vain as "Ain't No Mountain High Enough." And Diana Ross sounds wonderfully soulful and shows off her laser like pitch that rings clear as a bell when she tears through songs like "Remember Me," "I'm A Winner," "Surrender," and others, proving once again that she was more than ready to be a solo artist.
Diana Ross - Surrender (flac 258mb)
01 Surrender 2:53
02 I Can't Give Back The Love I Feel For You 3:06
03 Remember Me 3:16
04 And If You See Him 2:50
05 Reach Out, I'll Be There 4:30
06 Didn't You Know You'd Have To Cry Sometime? 2:56
07 A Simple Thing Like Cry 2:56
08 Did You Read The Morning Paper? 3:53
09 I'll Settle For You 2:58
10 I'm A Winner 3:05
11 All The Befores 4:35
(ogg mb)
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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.
Diana Ross - Last Time I Saw Him (flac 205mb)
01 Last Time I Saw Him 2:49
02 No One's Gonna Be A Fool Forever 3:30
03 Love Me 2:54
04 Sleepin' 4:41
05 You 4:21
06 Turn Around 2:24
07 When Will I Come Home To You 3:15
08 I Heard A Love Song (But You Never Made A Sound) 2:33
09 Stone Liberty 2:55
10 Behind Closed Doors 2:34
(ogg mb)
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Today's Artists an American singer, actress, and record producer. Born and raised in Detroit, Michigan, Ross rose to fame as the lead singer of the vocal group the Supremes, which, during the 1960s, became Motown's most successful act, and are the best charting girl group in US history,[ as well as one of the world's best-selling girl groups of all time.Following her departure from the Supremes in 1970, the then 26 year old released her eponymous debut solo album that same year, featuring the number-one Pop hit "Ain't No Mountain High Enough". She later released the album Touch Me in the Morning in 1973; its title track reached number 1, as her second solo No. 1 hit. She continued a successful solo career through the 1970s and 80's. ...... N Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
The most successful black performers of the '60s, the Supremes for a time rivaled even the Beatles in terms of red-hot commercial appeal, reeling off five number one singles in a row at one point. Critical revisionism has tended to undervalue the Supremes' accomplishments, categorizing their work as more lightweight than the best soul stars' (or even the best Motown stars'), and viewing them as a tool for Berry Gordy's crossover aspirations. There's no question that there was about as much pop as soul in the Supremes' hits, that even some of their biggest hits could sound formulaic, and that they were probably the black performers who were most successful at infiltrating the tastes and televisions of middle America. This shouldn't diminish either their extraordinary achievements or their fine music, the best of which renders the pop vs. soul question moot with its excellence.
The Supremes were not an overnight success story, although it might have seemed that way when they began topping the charts with sure-fire regularity. The trio that would become famous as the Supremes -- Diana Ross, Mary Wilson, and Florence Ballard -- met in the late '50s in Detroit's Brewster housing project. Originally known as the Primettes, they were a quartet (Barbara Martin was the fourth member) when they made their first single for the Lupine label in 1960. By the time they debuted for Motown in 1961, they had been renamed the Supremes; Barbara Martin reduced them to a trio when she left after their first single.
The Supremes' first Motown recordings were much more girl-group-oriented than their later hits. Additionally, not all of them featured Diana Ross on lead vocals; Flo Ballard, considered to have as good or better a voice, also sang lead. Through a lengthy series of flops, Berry Gordy remained confident that the group would eventually prove to be one of Motown's biggest. By the time they finally did get their first Top 40 hit, "When the Lovelight Starts Shining Through His Eyes" in late 1963, Ross had taken over the lead singing for good.
Ross was not the most talented female singer at Motown; Martha Reeves and Gladys Knight in particular had superior talents. What she did have, however, was the most purely pop appeal. Gordy's patience and attention paid off in mid-1964 when "Where Did Our Love Go" went to number one. Written by Holland-Dozier-Holland, it established the prototype for their run of five consecutive number one hits in 1964-1965 (also including "Baby Love," "Stop! In the Name of Love," "Come See About Me," and "Back in My Arms Again"). Ross' cooing vocals would front the Supremes' decorative backup vocals, put over on television and live performance with highly stylized choreography and visual style. Holland-Dozier-Holland would write and produce all of the Supremes' hits through the end of 1967.
Not all of the Supremes' singles went to number one after 1965, but they usually did awfully well, and were written and produced with enough variety (but enough of a characteristic sound) to ensure continual interest. The chart-topping (and uncharacteristically tough) "You Keep Me Hangin' On" was the best of their mid-period hits. Behind the scenes, there were some problems brewing, although these only came to light long after the event. Other Motown stars (most notably Martha Reeves) resented what they perceived as the inordinate attention lavished upon Ross by Gordy, at the expense of other artists on the label. The other Supremes themselves felt increasingly pushed to the background. In mid-1967, as a result of what was deemed increasingly unprofessional behavior, Ballard was replaced by Cindy Birdsong (from Patti LaBelle & the Bluebelles). Ballard become one of rock's greatest tragedies, eventually ending up on welfare and dying in 1976.
After Ballard's exit, the group was billed as Diana Ross & the Supremes, fueling speculation that Ross was being groomed for a solo career. The Supremes had a big year in 1967, even incorporating some mild psychedelic influences into "Reflections." Holland-Dozier-Holland, however, left Motown around this time, and the quality of the Supremes' records suffered accordingly (as did the Motown organization as a whole). The Supremes were still superstars, but as a unit, they were disintegrating; it's been reported that Wilson and Birdsong didn't even sing on their final hits, a couple of which ("Love Child" and "Someday We'll Be Together") were among their best.
In November 1969, Ross' imminent departure for a solo career was announced, although she played a few more dates with them, the last in Las Vegas in January 1970. Jean Terrell replaced Ross, and the group continued through 1977, with some more personnel changes (although Mary Wilson was always involved). Some of the early Ross-less singles were fine records, particularly "Stoned Love," "Nathan Jones," and the Supremes/Four Tops duet "River Deep -- Mountain High." Few groups have been able to rise to the occasion after the loss of their figurehead, though, and the Supremes proved no exception, rarely making the charts after 1972. It is the Diana Ross-led era of the '60s for which they'll be remembered.
xxxxx xxxxx xxxxx xxxxx xxxxx
The final Diana Ross & the Supremes' album before Ross' departure, a duet LP with the Temptations (the second for the two groups) came out the same month. This ragtag bunch of vault dwellers and passed over tunes written by the company's third and fourth tier writers and producers has a misleading title: there are few creams and it's a bad crop. The sole star is their scintillating remake of Johnny & Jackey's forgotten "Someday We'll Be Together" -- their last hurrah, and a few other honorable mentions, namely "The Young Folks" and "You Gave Me Love." Despite the shortcomings, it wrangled its way to number 33 on Billboard's Pop Chart.
Diana Ross & The Supremes - Cream Of The Crop (flac 237mb)
01 Someday We'll Be Together 3:32
02 Can't You See It's Me 2:33
03 You Gave Me Love 2:40
04 Hey Jude 3:06
05 The Young Folks 3:12
06 Shadows Of Society 3:11
07 Loving You Is Better Than Ever 2:45
08 When It's To The Top (Still I Won't Stop Giving You Love) 2:57
09 Till Johnny Comes 2:57
10 Blowin' In The Wind 3:07
11 The Beginning Of The End 2:27
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
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.
Diana Ross - Diana Ross (flac 268mb)
01 Reach Out And Touch (Somebody's Hand) 2:59
02 Now That There's You 3:00
03 You're All I Need To Get By 3:00
04 These Things Will Keep Loving You 2:58
05 Ain't No Mountain High Enough 6:00
06 Something On My Mind 2:23
07 I Wouldn't Change The Man He Is 3:05
08 Keep An Eye 3:050
09 Where There Was Darkness 3:03
10 Can't It Wait Until Tomorrow 3:03
11 Dark Side Of The World 3:00
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
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." 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. The Beatles remakes show contrasting sides to Ross' talents: "Come Together" pulls no punches with an extended brassy and sassy reading, directly contrasted by the empathetic and heartfelt take of "The Long and Winding Road." Ross and Richards' sultry collaboration on Aretha Franklin's "I Love You (Call Me)" make for the finest contribution here from either participant. 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.
Diana Ross - Everything Is Everything (flac 263mb)
01 My Place 2:46
02 Ain't No Sad Song 2:41
03 Everything Is Everything 2:27
04 Baby It's Love 3:10
05 I'm Still Waiting 3:44
06 Doobedood'ndoobe, Doobedood'ndoobe, Doobedood'ndoo 4:52
07 Come Together 6:37
08 The Long And Winding Road 3:25
09 I Love You (Call Me) 3:22
10 How About You 2:48
11 (They Long To Be) Close To You 4:01
(ogg mb)
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This was Ross's third album and was produced by Nick Ashford and Valerie Simpson who also produced Diana's first smash hit solo album Diana Ross. I never heard of the SURRENDER album, being that I was only one-year old when it was released, and I only knew the song "Remember Me" (which I love!)from this release, but I'm glad that I've discovered this "lost" gem The album itself was not the commercial hit here in the USA that everyone was expecting, reaching #56 on the pop charts, but it's a wonderful collection of songs that follow in the same vain as "Ain't No Mountain High Enough." And Diana Ross sounds wonderfully soulful and shows off her laser like pitch that rings clear as a bell when she tears through songs like "Remember Me," "I'm A Winner," "Surrender," and others, proving once again that she was more than ready to be a solo artist.
Diana Ross - Surrender (flac 258mb)
01 Surrender 2:53
02 I Can't Give Back The Love I Feel For You 3:06
03 Remember Me 3:16
04 And If You See Him 2:50
05 Reach Out, I'll Be There 4:30
06 Didn't You Know You'd Have To Cry Sometime? 2:56
07 A Simple Thing Like Cry 2:56
08 Did You Read The Morning Paper? 3:53
09 I'll Settle For You 2:58
10 I'm A Winner 3:05
11 All The Befores 4:35
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
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.
Diana Ross - Last Time I Saw Him (flac 205mb)
01 Last Time I Saw Him 2:49
02 No One's Gonna Be A Fool Forever 3:30
03 Love Me 2:54
04 Sleepin' 4:41
05 You 4:21
06 Turn Around 2:24
07 When Will I Come Home To You 3:15
08 I Heard A Love Song (But You Never Made A Sound) 2:33
09 Stone Liberty 2:55
10 Behind Closed Doors 2:34
(ogg mb)
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Unfortunately some of the Diana Ross links are leading nowhere. Can you please correct them? Thanks.
ReplyDeleteHello Rho!
ReplyDeleteSorry to disturb you, but to make the complain a little more easy to handle
Diana Ross - Last Time I Saw Him (flac 205mb)
Diana Ross & The Supremes - Cream Of The Crop (flac 237mb)
Diana Ross - Surrender (flac 258mb)
remarks: NOT FOUND / Error 404
Best regards
Thomas
What can i say, there's lots of trouble with external harddisks, that said last night upon posting the new page i accidentally completely deleted it, s i could start from scratch, in my hurry i forgot to enter the new links-not sure how that happened i was only mildly stoned, anyway it's all set right now. N-Joy
ReplyDeletePlease, can you re-upload them? The albums here are amazing! Original mastering, with dynamic range! Please!
ReplyDelete