DIANA ROSS-DIANA.

dereksmusicblog ♦ June 3, 2012 ♦ Leave a comment

DIANA ROSS-DIANA.

While Diana Ross’ 1979 album The Boss had been commercially successful, reaching number fourteen in the US Billboard and number ten in the US R&B Charts, resulting in the album being certified gold, for the follow-up Diana wanted a more modern, contemporary sound. Then fate intervened, when Diana was handed an album of material from one of the hottest songwriting and production teams. This material had been written by Nile Rodgers and Bernard Edwards, with Aretha Franklin in mind. After Aretha turned down the offer of the songs, the songs which included Upside Down, I’m Coming Out and My Old Piano were passed to Diana Ross. She decided that these songs were just what she was looking for and soon,

Niles Rodgers and Bernard Edwards were hired to produce what would become Diana, Diana Ross’ biggest commercial success. However, recording of Diana wouldn’t be without problems, as you’ll see when I tell about you the background to the album and then the music on Diana.

Having hired Niles Rodgers and Bernard Edwards to produce Diana, Niles and Bernard brought along the rest of the Chic Organization. This meant that joining Niles on guitar and Bernard on bass, were drummer Tony Thompson, The Chic Strings, backing vocalists Fonzi Thornton, Alfa Anderson, Luci Martin and Michelle Cobb. Joining The Chic Organization were a brass section of saxophonist Eddie Daniels, trumpeter Bob Milliken and trombonist Meco Menardo. Keyboard players Raymond Jones and Andy Schwartz. Together they were Diana Ross’ backing band. However, the long daily recording sessions weren’t without incident. When Diana Ross was singing flat, producers Niles and Bernard had to point this out to Diana. She didn’t take kindly to this, deciding to abandon the recording sessions. Eventually, the eight tracks on Diana were completed. While Niles and Bernard were happy with the results, Diana wasn’t. Then when Diana gave DJ Frankie Crocker a sneak preview of Diana the project was thrown into chaos.

Before the release of Diana, Diana gave DJ Frankie Crocker a preview of her forthcoming album, Diana. This was just after the Disco Sucks backlash, which come to head in July 1979. Once Frankie had heard Diana, he warned Diana that if she released the album it would be the end of her career. Given the quality of the music on Diana, even after the changes, how he came to this conclusion who knows? This lead to Diana deciding to make some changes to the album.

Once the abum’s master-tapes were sent to Motown, Diana and Motown engineer Russ Terana headed back to the studio. They remixed the whole album, taking out some of Chic’s funky playing, cutting down lengthy instrumental breaks and speeding up the tempo of Diana’s vocals. This was meant to make Diana’s voice sound younger and more vibrant. Not only did the do all this, but they moved Diana’s vocal to the front of the mix, making it sit in the centre of the mix. However, all this was going on without Niles or Bernard’s knowledge, permission or approval. 

Once Niles and Bernard heard what had happened, they objected strongly. This they did in public. They even considered removing their names from the album’s list of credits. Another problem was that Niles and Bernard were contracted to produce the follow-up to Diana. However, Diana left Motown after the release of Diana. With the problems mounting, Niles and Bernard decided to sue Motown, after all, they’d created and produced the original version of Diana. Their claim however, was unsuccessful. All they could do was watch the supposed “new and improved” version of Diana being released on May 1980.

On the release of Diana in May 1980, the album reached number two in the US Billboard 200 and number one in the US R&B Charts. Diana album was certified platinum in the US, while being certified in gold in the UK and Canada. Upside Down was the first single released from Diana in June 1980. It reached number one in both the US Billboard 100 and US R&B Charts. I’m Coming Out was released in August 1980, reaching number five in both the US Billboard 100 and six in the US R&B Charts. The final single released from Diana was My Old Piano, released in September 1980, but only reached number 109 in the US Billboard 100, but fared better in the UK and Europe. Overall, Diana had been a huge commercial success, becoming Diana Ross’ most successful album ever, selling over million copies in the US and ten million copies worldwide. However, I’ve always wondered what would’ve happened if Diana had been released in its original form? Would it have been even more successful? Obviously, we’ll never know, but I’ll now tell you about the music on Diana.

Opening Diana is Upside Down, which was the first single released from the album. The track bursts into life, quite unlike Diana Ross’ previous music, but with the slick Chic sound standing out. Niles’ guitars and Bernard’s bass playing are key to the track. Bernard’s bass pounds, Tony Thompson’s drumming has a similar power, and is crucial in providing the song’s dance-floor friendly heartbeat. Meanwhile, Niles’ guitar playing is quick, accurate and chiming. Diana’s voice is light, bright and joyous, cascading throughout the song. She brings meaning to the lyrics, delivering them with feeling and a slightly sassy style. Completing the arrangement  are strings that sweep and swirl, while keyboards drift in and out. Together, The Chic Organization play a vital role in helping the Queen of Motown create a joyous, hook-laden, dance-floor friendly classic.

Tenderness has Chic written over it. The rhythm section and Niles’ guitar precede the arrival of The Chic Strings and then Chic’s backing vocalists. They set the scene for Ms. Ross. Her vocal glides elegantly into the arrangement, her vocal tender, with backing vocalists accompanying her. Chic create an arrangement that’s influenced by jazz and funk, while adding a beat that’s perfect for the dance-floor. As Diana’s graceful vocal drifts across the arrangement, she’s accompanied by flourishes of strings. Niles, Bernard and Tony provide the perfect backdrop for tender, beautiful Diana’s vocal on a track that’s timeless and played its part in helping Diana Ross win over a new generation of fans.

Friend To Friend has a much more Diana Ross sound. The tempo drops, with graceful strings accompanying Diana’s tender, heartfelt vocal. As the strings drift slowly, the rest of the band play with a subtlety. Niles’ guitar playing is understated, while Bernard’s bass prowls along the arrangement, providing its slow heartbeat. This leaves the stage clear for Diana to deliver her tender, heartfelt vocal.

I’m Coming Out is a track that would become anthemic among Diana’s legion of gay fans. They felt the song was for them, loving it’s a celebratory, joyful sound. Key to this sound was Chic. Quick chiming guitars accompany Diana’s joyful vocal, before the rhythm and brass sections enter. Their entrance builds up the drama, the bass and drums pounding, while horns blaze and backing vocalists accompany Diana. She unleashes one of her best vocals on the album, delivering the lyrics with confidence and pride, transforming them into a celebratory, joyful anthem. After three minutes comes Merco Menardo’s trombone solo. He agreed to contribute the horns on the album in return for Niles producing his next album. Then come flourishes of keyboards, that give way to a masterclass from Niles, Bernard and Tony. When Diana accompanied by backing vocalists and blazing horns returns, she takes this anthemic track to its joyful, inspirational ending.

After the previous track, Have Fun (Again) has a hard act to follow. When the track opens, it does’t quite grab your attention like the other tracks. It’s just a bit contrived, with Diana encouraging you to Have Fun (Again). Her vocal is full of enthusiasm, while Chic play with their usual aplomb. The rhythm section, Niles’ guitar and swathes of strings accompany Diana, providing a polished, accomplished and funky backdrop. Backing vocalists augment Diana’s backdrop, adding to the track’s upbeat sound. However, neither Chic’s considerable talents nor Diana’s vocal can lift this track from a good track, to being a great track, like its predecessors. Maybe the original, unedited version of the track would’ve been better and the best version was left on the cutting-room floor?

I’ve always found it strange that My Old Piano wasn’t a bigger success in the US, matching the song’s success in the UK and Europe. It’s certainly neither lacking in quality nor hooks. Diana’s vocal is powerful, impassioned and full of emotion. Chic provide the perfect backdrop, with the rhythm section and guitars producing one of their tightest and most accomplished performances. Both Bernard’s bass and Niles’ guitar playing are the glue that hold the track together, while percussion, flourishes of piano and cascading strings augment their playing. Similarly, Diana lifts her game, resulting in a hugely memorable track where jazz, funk and soul are combined seamlessly by The Chic Organization.

Now That You’re Gone, like the other seven tracks on Diana were written by Niles Rodgers and Bernard Edwards. This track however, has a quite different sound. It’s a ballad, with an arrangement that unfolds in dramatic waves. Diana’s vocal is delivered in short bursts, full of regret and sadness. Flourishes of piano, slow, sad strings and percussion combine with the rhythm section and guitar who play with a much more subdued, less funky sound. This suits the song, but again, I wonder what the original version sounded like? However, although the track sounds unlike other tracks, it allows Diana to deliver a vocal full of heartache and regret, that’s not just perfect for the lyrics but is deeply moving and effective.

Closing Diana is Give Up a much more uptempo track, with quality written over it. Again, it has a very Chic sound. It’s more like a Chic track with Diana Ross drafted in to sing lead vocal. Bursts of rasping horns, sweeping, swirling strings, guitars and the rhythm section combine to create a dramatic, uptempo opening. Backing vocalists deliver sharp bursts of backing vocals, before Diana’s powerful, emotive vocal enters. Stabs of piano join the mix, as the rhythm section, strings and backing vocalists drift in and out of the arrangement. Later, Niles unleashes a stunning jazz-drenched solo, before strings dance in delight as this dramatic, but glorious track ends, far too soon.

Listening to Diana,  it’s obvious why the album was both critically acclaimed and became Diana’s biggest selling album. With tracks like Upside Down, Tenderness, I’m Coming Out, My Old Piano and Give Up grab your attention from the opening bars. Straight away, you realize their quality, with Upside Down, Tenderness and I’m Coming Out perfect for the dance-floor, even today, thirty-two years later. That demonstrates their timeless quality. My Old Piano while not as dance-floor friendly, has quality written all over it. Friend To Friend has a much more Diana Ross sound, and is much more representative of Ms. Ross’ previous albums. Similarly, Now That You’re Gone is another ballad, but given a twist by Chic, which really works. The only track that doesn’t work is Have Fun (Again), which is a good track, but has a much too contrived sound. Regardless of how good an album Diana is, I’m left wondering what would’ve happened if the original, funkier version had been released? What would’ve happened if Frankie Crocker hadn’t heard Diana? His comments resulted in the Diana being changed beyond recognition. One wonders whether Diana had chosen a different DJ to hear the album before its release, whether the story would’ve had a very different ending. While DJs are and always have been to some extent tastemakers, taking one man’s word as gospel was dangerous, regardless of their reputation or talents. Although Diana might have had some concerns about the album, Niles Rodgers and Bernard Edwards were by 1979, experienced musicians, songwriters and producers, having sold many millions of album and having numerous gold and platinum discs under their belts. They’d given Diana’s music a more modern, contemporary sound, resulting in sales of ten million albums and a new generation of fans discovering her music. Having delivered the album to Motown, Diana totally changed the album, changing vocals and removing extended instrumental breaks which Chic were known for. Given Chic were known for these instrumental breaks, why hire a producer knowing how they work and the music they make? Maybe she should have given them a clearer remit, rather than changing the album after its completion. Having said all that, Diana is a classic album, featuring in Rolling Stone’s recently compiled list of 500 best albums ever. The best version of Diana buy is the remastered double album, released in 2003. It also features the original version of the album. If you listen to that version, you too will be able to hear both versions, and decide which version of Diana should’ve been released. Standout Tracks: Upside Down, Tenderness, I’m Coming Out and My Old Piano.

DIANA ROSS-DIANA.