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Product Description
Review
When Diana Ross turned to the then lava-hot Chic Organization in late 1979 to produce her, she made one of the smartest moves of her career. Ms Ross was seen as somewhat past her best by this time; she had been a star for best part of 20 years with a diva-esque reputation and three children. Nile Rodgers and Bernard Edwards' had only been stars for little over two years. It was clear to them both that in order to move forward, Ross had to be turned upside down, come out of the superstar bubble she was in, and most importantly, to have fun again.
To that end, Diana is an artistic portrayal of complete freedom; Rodgers and Edwards' writing symbolises Ross' breaking free of the shackles of Motown on one level, but moreover, the work has a universality; celebrating gayness, blackness, equality; an album of challenging ideas, friendship and freedom. And who better to pilot these themes than the most successful African American female artist in the world?
The tale behind the making of the Diana album was a classic saga of the old meeting the new. Recording sessions took place at Nile and 'Nard's studio of choice, The Power Station in New York. It was the first time that the duo had worked with an established artist, and their speedy and benignly dictatorial working methods were alien to Ross. When Edwards, often seen as the 'bad cop' of the Chic producing partnership, suggested that she may have been singing 'underneath' one of the tracks, she stormed out of the studio, stating "Berry Gordy never said I sing flat!". She was not to return for several weeks.
Rodgers and Edwards were accused of trying to make their sound shine and Motown's first lady look poor by comparison, so Ross and long-time engineer Russ Terrana pulled the album and remixed it at the eleventh hour. And that's what we have all known for the past 23 years. Well, now we can compare both.
The original mix is largely wonderful; all edgy, angular and close mic'd. The grittiest manifestation of Chic's initial ideas is "Have Fun (Again)", which demonstrates the knotty structures Rodgers was accustomed to using in his jazz-rock days and for once, Ross sounds as if she's on the street instead of looking down from a penthouse window. It also gives a whole new flavour to "Upside Down" the extended play-out of Rodgers guitar at its most frenetic is no longer smothered. "Friend To Friend", one of Chic's most poetical slowies, enjoys the best original version here; sounding almost like a minuet.
However, the original version of ''I'm Coming Out'' is a rare moment that it proves Ross' instinct was right. It's one of those delicious tracks that you have always heard but have hardly ever listened to. Check the elegant simplicity of Edwards' bass - always in the pocket; Meco Monardo's trombone and the ever-present gang vocals of the Chic choir (Chic's Luci and Alfa, plus Fonzi Thornton and Michelle Cobbs). Terrana's tightening-up makes all the difference and the sloppiness of Meco's trombone solo on the original does, somewhat,undermine Ross.
Disc two provides the disco-oriented sides that led to Diana, and it proves illuminating listening. It is full of delights, the writ-large hopes and aspirations of mid-70s America, fighting back against the backdrop of recession. The Richard Perry produced "Your Love Is So Good For Me"; "Sweet Summertime Lovin'" and the ten-minute Disconet mix of "Love Hangover" make this an interesting, if occasionally formulaic listen.
Universal's Deluxe series truly delivers here; well-packaged, informative, a historical document; but unlike many worthy albums that are recovered, this one is actually for using regularly, not keeping on the highest shelf. --Daryl Easlea
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Most Helpful Customer Reviews
21 of 21 people found the following review helpful:
5.0 out of 5 stars
THE QUINTESSENTIAL DIANA ROSS CLASSIC JUST GOT BETTER!,
By
This review is from: Diana (Audio CD)
Just as "Thriller" became the ultimate Michael Jackson album, the 1980 "Diana" album evolved as THE quintessential Diana Ross album. It also became the album that subsequent releases from the diva would be compared to. I remember the occasion just like it was yesterday. It was the summer of 1980 and I was 10 years old (now I AM showing my age!). "Upside Down" could be heard virtually everywhere - and it was a song that was blasted from radios and stereos. It was the coolest record I'd heard and I was hooked. Even now, this slice of Ross/Chic perfection sounds fresh, youthful and vibrant. If we go back to 1980, we know that Ms Ross was already a superstar in her own right. Some have written that she needed to bring her 'flagging' career up to date. It's true - she'd been absent from the Billboard pop top ten charts for a few years. However, it's worth remembering that "The Boss" album certified Gold in the US the year before. It was left for Diana to team up with the hottest R&B producers of the day - Bernard Edwards and Nile Rogers. "I'm Coming Out" was a born out of conversations Diana had with Edwards and Rogers. It became Diana's personal declaration of desire and independence. Her vocal performance here was inspired, vivid and spot on. All those who harp on about Diana's lack of vocal prowess need to listen to both versions this track - they'll soon be silenced! It was a few years later that I discovered that the released version of "Diana" was not the original Chic mix. Like many fans, my curiosity bubbled for years. Here's my take on which tracks are better - released version or Chic version: UPSIDE DOWN - Released mix Were Motown right to tamper with Bernard and Nile's handy work? That's not for me to say. They took all the elements of the original and produced a `radio-friendly' album. The main differences with the remix are that the overall production is smoother, slicker and more sophisticated - just what you'd expect from such a crucial Ross release. With the remix, you can virtually hear each instrument, and Diana's evocative soprano is the icing on the cake. The Chic mix, however, showcases a raw, spontaneous energy and Diana had never sounded stronger vocally. To me, it has an arty clubhouse feel to it, and I can see why Motown opted to play it safe. Both versions make for fascinating listening - I found myself constantly flipping between the two versions! YOUR LOVE IS SO GOOD FOR ME - 12-inch version I think that this DELUXE edition is an essential purchase for Diana's fans - past and present. This gatefold, double CD is lavishly packaged, with candid essays from Nile Rogers, Russ Terrana (re-mixer) and Brian Chin. And of course, Diana looks breathtaking beautiful both on the front cover, and the glorious colour centrefold spread. "DIANA" - that perennial classic - just got better!
11 of 11 people found the following review helpful:
5.0 out of 5 stars
A Classic Album Made Even Better,
By Burjiz (Schaffhausen, Switzerland) - See all my reviews
This review is from: Diana (Audio CD)
Some would argue that Diana Ross' 1980 "diana" is really a Chic album with Ross singing lead vocals. Bernard Edwards and Nile Rogers of the influential 1970s group serve as producers, and the result is a non-stop party filled with groovilicious tunes that are just as stellar as anything by Chic. "diana" was a huge commercial hit upon release, and for a good reason: the album is excellent and may be the best of Diana's post-Supremes career. Who could forget the hit singles "Upside Down" and the uplifting "I'm Coming Out?" If any female singer kicked off the 1980s with a bang, it's definitely Ms. Ross, thanks to this classic of an album. "diana" has been remastered and is part of Universal's "Deluxe Edition" series. The first disc has not one but two versions of the album. One is the "diana" as released, and another is the "Chic Mix." I definitely prefer the latter version as it is more relaxed, free-flowing, and is somewhat less polished than the "diana" that was released in stores. I'm glad that we finally have the chance to hear this classic "as nature intended." In addition, a bonus disc of extended mixes and other jams is what makes this CD a must-own for Dianaphiles and casual listeners. We get, among others, a full-length 10 minute version of the classic "Love Hangover," a standout mix of the excellent "No One Gets the Prize/The Boss" and other previously unreleased tracks like "Fire Don't Burn," and "You Build Me Up to Tear Me Down." Sure, there's a single disc version of "diana" available, and like the deluxe edition, it's digitally remastered. But you're only selling yourself short by getting that version. The deluxe edition is a can't fail purchase; it's an example of what happens when you take a classic album and make it even better.
20 of 22 people found the following review helpful:
5.0 out of 5 stars
AT LAST!,
By
This review is from: Diana (Audio CD)
When Chic's Nile Rodgers & Bernard Edwards produced the album they were horrified when Motown remixed it prior to release & now after a 23 year wait, we Chic/Diana Ross fans have a chance at last to hear it as it was originally intended. The original Chic mix gives the curious listener the chance to hear in some cases, different edits of now classic songs such as "I'm Coming Out" & "Upside Down", which has more guitar than on the original released version. In all, well worth the wait for this Chic fan! The second cd presents rare & unreleased tracks & versions of some of her legendary tunes. This package in all is a must have for the Diana Ross fan & the Chic completist.
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