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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.
© Lindsay Planer /TiVo
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Pam Sawyer, ComposerLyricist - Michael Masser, Producer, ComposerLyricist - Diana Ross, MainArtist
℗ 1973 Motown Records, a Division of UMG Recordings, Inc.
Pam Sawyer, Producer, ComposerLyricist - Michael Masser, ComposerLyricist - Diana Ross, MainArtist
℗ 1973 UMG Recordings, Inc.
Nick Zesses, ComposerLyricist - DINO FEKARIS, ComposerLyricist - Diana Ross, MainArtist - Tom Baird, Producer, ComposerLyricist
℗ 1973 UMG Recordings, Inc.
MILLER, ComposerLyricist - Diana Ross, MainArtist - Ron Miller, Producer - T. Etlinger, ComposerLyricist
℗ 1973 Motown Records, a Division of UMG Recordings, Inc.
Diana Ross, MainArtist - Ron Miller, Producer, ComposerLyricist - Terry Etlinger, ComposerLyricist
℗ 1973 Motown Records, a Division of UMG Recordings, Inc.
Harry Belafonte, ComposerLyricist - Michael Masser, Producer - Diana Ross, MainArtist - Malvina Reynolds, ComposerLyricist - Allen Greene, ComposerLyricist
℗ 1973 Motown Records, a Division of UMG Recordings, Inc.
Kathy Wakefield, ComposerLyricist - Bob Gaudio, ComposerLyricist - Michael Masser, Producer - Al Ruzicka, ComposerLyricist - Diana Ross, MainArtist
℗ 1973 Motown Records, a Division of UMG Recordings, Inc.
Bob Gaudio, Producer, ComposerLyricist - Diana Ross, MainArtist - Brit Gaudio, ComposerLyricist
℗ 1973 Motown Records, a Division of UMG Recordings, Inc.
Kathy Wakefield, ComposerLyricist - Bob Gaudio, Producer, ComposerLyricist - Diana Ross, MainArtist
℗ 1973 Motown Records, a Division of UMG Recordings, Inc.
Kenny O'Dell, ComposerLyricist - Michael Masser, Producer - Diana Ross, MainArtist
℗ 1973 Motown Records, a Division of UMG Recordings, Inc.
Pam Sawyer, ComposerLyricist - Michael Masser, Producer, ComposerLyricist - Diana Ross, MainArtist
℗ 2007 UMG Recordings, Inc.
Pam Sawyer, ComposerLyricist - Michael Masser, Producer, ComposerLyricist - Diana Ross, MainArtist
℗ 2007 UMG Recordings, Inc.
Nick Zesses, ComposerLyricist - DINO FEKARIS, ComposerLyricist - Diana Ross, MainArtist - Tom Baird, Producer, ComposerLyricist
℗ 2007 UMG Recordings, Inc.
MILLER, ComposerLyricist - Diana Ross, MainArtist - Ron Miller, Producer - T. Etlinger, ComposerLyricist
℗ 2007 UMG Recordings, Inc.
Diana Ross, MainArtist - Ron Miller, Producer, ComposerLyricist - Terry Etlinger, ComposerLyricist
℗ 2007 UMG Recordings, Inc.
Harry Belafonte, ComposerLyricist - Diana Ross, MainArtist - Malvina Reynolds, ComposerLyricist - Tom Baird, Producer - Allen Greene, ComposerLyricist
℗ 2007 UMG Recordings, Inc.
Kathy Wakefield, ComposerLyricist - Bob Gaudio, Producer, ComposerLyricist - Al Ruzicka, ComposerLyricist - Diana Ross, MainArtist
℗ 2007 UMG Recordings, Inc.
Bob Gaudio, Producer, ComposerLyricist - Diana Ross, MainArtist - Brit Gaudio, ComposerLyricist
℗ 2007 UMG Recordings, Inc.
Kathy Wakefield, ComposerLyricist - Bob Gaudio, Producer, ComposerLyricist - Diana Ross, MainArtist
℗ 2007 UMG Recordings, Inc.
Kenny O'Dell, ComposerLyricist - Diana Ross, Producer, MainArtist
℗ 2007 UMG Recordings, Inc.
DISC 2
Johnny Bristol, Producer, ComposerLyricist - Diana Ross, MainArtist - Wade Brown, ComposerLyricist - David Jones Jr., ComposerLyricist
℗ 2007 UMG Recordings, Inc.
Anita Poree, ComposerLyricist - Leonard Caston, ComposerLyricist - Diana Ross, MainArtist - Frank Wilson, Producer
℗ 2007 UMG Recordings, Inc.
Michael Randall, Producer, Recording Arranger, AssociatedPerformer, ComposerLyricist - Diana Ross, MainArtist
℗ 2007 UMG Recordings, Inc.
Anita Poree, ComposerLyricist - Diana Ross, MainArtist - Ron Miller, Producer - Bobby Sanders, ComposerLyricist - Clarence Scarborough, ComposerLyricist
℗ 2007 UMG Recordings, Inc.
Diana Ross, MainArtist - Ron Miller, Producer, ComposerLyricist - Tom Baird, Producer, ComposerLyricist
℗ 2007 UMG Recordings, Inc.
Joseph Rock, ComposerLyricist - Walter Lester, ComposerLyricist - Bob Gaudio, Producer - Diana Ross, MainArtist - Joseph Verscharen, ComposerLyricist - James L. Beaumont, ComposerLyricist - Janet F. Vogel, ComposerLyricist
℗ 2007 UMG Recordings, Inc.
Roger Nichols, ComposerLyricist - Paul Williams, ComposerLyricist - Diana Ross, MainArtist - JERRY MARCELLINO, Producer - Mel Larson, Producer
℗ 2007 UMG Recordings, Inc.
Berry Gordy Jr., ComposerLyricist - Chris Clark, ComposerLyricist - Diana Ross, MainArtist - Hal Davis, Producer
℗ 2007 UMG Recordings, Inc.
Gene Page, Recording Arranger, AssociatedPerformer - Diana Ross, MainArtist - Ron Miller, Producer, ComposerLyricist - Terry Etlinger, ComposerLyricist
℗ 2007 Motown Records, a Division of UMG Recordings, Inc.
Michael Omartian, Recording Arranger, AssociatedPerformer - Pamela Sawyer, ComposerLyricist - Gene Page, Recording Arranger, AssociatedPerformer - Michael Masser, Producer, ComposerLyricist - Diana Ross, MainArtist
℗ 2001 Motown Records, a Division of UMG Recordings, Inc.
Albumbeschreibung
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.
© Lindsay Planer /TiVo
About the album
- 2 disc(s) - 30 track(s)
- Total length: 01:38:11
- Main artists: Diana Ross
- Composer: Various Composers
- Label: UNI - MOTOWN
- Genre: Soul/Funk/R&B Soul
© 2023 UMG Recordings, Inc. ℗ 2007 UMG Recordings, Inc.
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