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Pop - Released January 1, 2002 | Motown

Distinctions The Qobuz Ideal Discography
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R&B - Released May 22, 1980 | UNI - MOTOWN

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Rap - Released November 5, 2001 | Parlophone UK

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Soul - Released January 1, 1970 | UNI - MOTOWN

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Pop - Released January 1, 2011 | Universal Music

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R&B - Released January 1, 2012 | UNI - MOTOWN

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R&B - Released January 1, 2003 | UNI - MOTOWN

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Vocal Music (Secular and Sacred) - Released January 1, 2006 | Motown

For soul fanatics, the Motown archives are the musical equivalent to the Wonka building in Charlie & the Chocolate Factory. Every twist and turn is filled with the possibility of resuscitation, preservation, and in some instances surprise discoveries. Such is the case with Blue, which was supposed to be the follow-up album to Diana Ross' wildly successful Lady Sings the Blues, but was shelved when Motown maestro Berry Gordy took Ross back in a more pop direction with Touch Me in the Morning. This direction, while proving successful at the time, is unfortunate, as the performances on Blue rival (and in some instances best) the performances on Lady Sings the Blues. A few of these tracks would later see the day on other albums ("Little Girl Blue" on Touch Me in the Morning and "Smile" on Diana Ross in 1976) but with alternate vocal takes and mixes. But Ross' portrayal of Billie Holiday was effective; it wasn't just a carbon copy reenactment of Holiday, but a cultivation of her essence when placed on-stage or in the studio behind a microphone. Gil Askey's arrangements are top-notch without sounding like dinner theater knock-offs. Blue is an album every bit as bold an artistic statement as her contemporaries Stevie Wonder and Marvin Gaye, who were recording the opuses Where I'm Coming From and What's Going On around the same time, and for Ross fans, Blue is every bit as enjoyable as her sultriest moments as the supreme Supreme. ~ Rob Theakston
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R&B - Released January 1, 1980 | Motown

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Ambient/New Age - Released October 26, 2018 | UNI - MOTOWN

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Pop - Released January 1, 1973 | Motown

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R&B - Released January 1, 2000 | Motown

Diana Ross is certainly a diva of goddess-like proportions. Whether joined by the Supremes, or out on her own, her voice is unmistakable and powerful, plus she possesses the uncanny ability to take songs penned by others and make them very much her own -- to imbibe them with her very soul. This collection of Ross' best-known and loved hits is perfect testament to her massive gift. Working closely with both singer/songwriting duo Ashford & Simpson, as well as producers Nile Rodgers and Bernard Edwards (both of Chic), Ross brought six songs to the top of the pop charts over a decade -- all included here. From the early classic gospel-inflected "Reach Out and Touch (Somebody's Hand)" and the empowering chest beater "Ain't No Mountain High Enough," to the lite soul of "It's My House," Ross demonstrates full range. Also featured are the massive club hits "Upside Down" and "I'm Coming Out," cut with Rodgers and Edwards. Strong and up-tempo, both songs became disco manifestos across the country in the early '80s and helped to keep the genre alive just a little bit longer. And, of course, this compilation is completed, naturally, with both the sultry throb of "Love Hangover" and the Lionel Richie duet "Endless Love." If there is a failing at all, it is within the "Medley (With the Supremes)." This glossy track hits the highlights, but really, why butcher such amazing songs? Any one would be better off slipping a Supremes greatest-hits onto the old turntable. But for the casual listener, this probably hits the spot. It's heavy on the chart-toppers, and a sweet sonic masterpiece by anyone's standards. ~ Amy Hanson
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Pop - Released June 22, 1973 | Motown (Capitol)

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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. [The rest of the expanded deluxe set includes several remixes and alternate takes, plus the OK unreleased Smokey Robinson-written “Kewpie Doll,” to round out the two discs.] ~ Stephen Thomas Erlewine
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Pop - Released May 23, 1979 | UNI - MOTOWN

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Rap - Released November 5, 2001 | Parlophone UK

A splendid 41-song set featuring Diana Ross' best recordings with the Supremes, along with Motown and post-Motown solo recordings. This is a very comprehensive and thoughtfully chosen package. The selections run the gamut from "Where Did Our Love Go" to "Love Hangover" to "I'm Coming Out" to Frankie Lymon & the Teenagers' "Why Do Fools Fall in Love" and Michael Jackson's "Muscles." It features her duets with Lionel Richie and Marvin Gaye, "Endless Love" and "You Are Everything," respectively, and "I'm Gonna Make You Love," a duet with Eddie Kendricks credited as Diana Ross & the Supremes and the Temptations. Ross' compelling soprano is often imitated, but has never been duplicated as successfully by anybody, and that includes her namesake, Jackie Ross ("Selfish One"). This is as good as it gets. Compiling a more complete and pleasing package with the same number of tracks to work with will never happen. The circus-sounding "The Happening" is a nuisance, but you can skip or program it out entirely if it bothers you. ~ Andrew Hamilton
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Rap - Released November 11, 1996 | Parlophone UK

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Film Soundtracks - Released January 1, 1972 | UNI - MOTOWN

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R&B - Released September 16, 1977 | UNI - MOTOWN

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Pop - Released January 1, 1970 | UNI - MOTOWN

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. ~ Lindsay Planer
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Rap - Released April 13, 1993 | Parlophone UK