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Diana Ross|Blue

Blue

Diana Ross

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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 /TiVo

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Blue

Diana Ross

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1
What A Difference A Day Makes (Album Version)
00:03:26

Maria Grever, ComposerLyricist - Stanley Adams, ComposerLyricist - Diana Ross, MainArtist - Gil Askey, Conductor, Producer

℗ 2006 Motown Records, a Division of UMG Recordings, Inc.

2
No More (Album Version)
00:03:06

Diana Ross, MainArtist - Gil Askey, Conductor, Producer - Camarata, ComposerLyricist - Sidney Keith Bob Russell, ComposerLyricist

℗ 2006 Motown Records, a Division of UMG Recordings, Inc.

3
Let's Do It (Album Version)
00:02:57

Cole Porter, ComposerLyricist - Diana Ross, MainArtist - Gil Askey, Conductor, Producer

℗ 2006 Motown Records, a Division of UMG Recordings, Inc.

4
I Loves You Porgy (Album Version)
00:05:08

George Gershwin, ComposerLyricist - Ira Gershwin, Author - Dubose Heyward, Author - Diana Ross, MainArtist - Gil Askey, Conductor, Producer

℗ 2006 Motown Records, a Division of UMG Recordings, Inc.

5
Smile (Album Version)
00:02:56

Charlie Chaplin, Composer - John Turner, Author - Geoffrey Parsons, Author - Diana Ross, MainArtist - Gil Askey, Conductor, Producer, Recording Arranger, AssociatedPerformer - Ed Redmond, Recording Arranger, AssociatedPerformer

℗ 2006 Motown Records, a Division of UMG Recordings, Inc.

6
But Beautiful (Album Version)
00:02:47

Johnny Burke, ComposerLyricist - Jimmy Van Heusen, ComposerLyricist - Diana Ross, MainArtist - Gil Askey, Conductor, Producer

℗ 2006 Motown Records, a Division of UMG Recordings, Inc.

7
Had You Been Around (Album Version)
00:03:28

Ronald Miller, ComposerLyricist - Diana Ross, MainArtist - Avery Vandenberg, ComposerLyricist - Richard Jacques, ComposerLyricist - Bernard Yuffy, ComposerLyricist - Gil Askey, Conductor, Producer

℗ 2006 Motown Records, a Division of UMG Recordings, Inc.

8
Little Girl Blue (Album Version)
00:03:57

Richard Rodgers, Composer - Lorenz Hart, Author - Diana Ross, MainArtist - Gil Askey, Conductor, Producer

℗ 2006 Motown Records, a Division of UMG Recordings, Inc.

9
I Can't Get Started (Album Version)
00:03:06

Ira Gershwin, Author - Vernon Duke, Composer - Diana Ross, MainArtist - Gil Askey, Conductor, Producer

℗ 2006 Motown Records, a Division of UMG Recordings, Inc.

10
Love Is Here To Stay (Album Version)
00:02:10

George Gershwin, Composer - Ira Gershwin, Author - Diana Ross, MainArtist - Gil Askey, Conductor, Producer

℗ 2006 Motown Records, a Division of UMG Recordings, Inc.

11
You've Changed (Album Version)
00:02:51

Carl Fischer, ComposerLyricist - Bill Carey, ComposerLyricist - Diana Ross, MainArtist - Gil Askey, Conductor, Producer

℗ 2006 Motown Records, a Division of UMG Recordings, Inc.

12
My Man (Mon Homme) (Album Version)
00:03:26

Jacques Charles, ComposerLyricist - Diana Ross, MainArtist - Channing Pollock, ComposerLyricist - Gil Askey, Conductor, Producer - Albert Lucien Willemetz, ComposerLyricist

℗ 2006 Motown Records, a Division of UMG Recordings, Inc.

13
Easy Living
00:02:46

Leo Robin, ComposerLyricist - Ralph Rainger, ComposerLyricist - Diana Ross, MainArtist - Gil Askey, Conductor, Producer

℗ 2006 Motown Records, a Division of UMG Recordings, Inc.

14
Solitude
00:02:02

Duke Ellington, Composer - Irving Mills, Author - Eddie Delange, Author - Diana Ross, MainArtist - Gil Askey, Conductor, Producer

℗ 2006 Motown Records, a Division of UMG Recordings, Inc.

15
He's Funny That Way
00:02:59

Diana Ross, MainArtist - Neil Moret, ComposerLyricist - Richard A. Whiting, Composer - Gil Askey, Conductor, Producer

℗ 2006 Motown Records, a Division of UMG Recordings, Inc.

16
T'ain't Nobody's Bizness If I Do
00:02:22

Diana Ross, MainArtist - Porter Grainger, ComposerLyricist - Everett Robbins, ComposerLyricist - Gil Askey, Conductor, Producer

℗ 2006 Motown Records, a Division of UMG Recordings, Inc.

Album review

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 /TiVo

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