Similar artists

Albums

$11.49

Pop - Released January 1, 2002 | Motown

Distinctions The Qobuz Ideal Discography
$20.99
$17.99

R&B - Released May 22, 1980 | UNI - MOTOWN

Hi-Res
$20.99
$17.99

Soul - Released January 1, 1970 | UNI - MOTOWN

Hi-Res
$14.99

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

$21.49

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

$7.49

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
$12.99

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

$12.99

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
$20.99
$17.99

Pop - Released May 23, 1979 | UNI - MOTOWN

Hi-Res
$16.49

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

$17.99
$14.99

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

Hi-Res Booklet
$12.99

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
$12.99

Funk - Released January 1, 2004 | Motown

$17.99

Pop - Released January 1, 2009 | Hip-O Select (MT)

$10.49

R&B - Released June 30, 1999 | Motown

Great dance material is featured, again by Ashford & Simpson. ~ Rick A. Bueche
$12.99

R&B - Released November 27, 2015 | UNI - MOTOWN

Booklet
$7.49

Pop - Released March 23, 2018 | Motown (Capitol)

Once "Ain't No Mountain High Enough" became a hit single, its source album, Diana Ross, was reissued under a different title -- Ain't No Mountain High Enough. Whatever it's called, the album remains 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. ~ Ron Wynn
$12.99

R&B - Released January 1, 1971 | UNI - MOTOWN

$11.49

Disco - Released August 10, 2018 | UNI - MOTOWN

$10.49

Pop - Released January 1, 1981 | UNI - MOTOWN