Boss, The [Remastered] - Diana Ross > Reviews > Essential Diana Ross!

Author's product rating:   

Originality	Definitely a cut above the rest
Lyrics	Not applicable
Quality and consistency of tracks	Flawless
Value for Money	Excellent

Advantages:	Every Track Is A Winner !
Disadvantages:	None !

Recommend to potential buyers:

yes

Full review

By the end of the 1970's Diana Ross' recording career was back on shaky ground. Her studio albums, the excellent Baby It's Me (1977) and the hodge podge production of Ross (1978) had sold disappointingly. Not only that but her third silver screen venture The Wiz (1978) performed badly at the Box Office and became something of an embarassing fiasco to all concerned, not least to Ross who was virtually ridiculed by critics.

Diana Ross always had that drive, determination and uncanny ability to bounce back no matter what set back her career endured (and she certainly has had more than her fair share of set-backs, especially in more recent years). At the fall of 1979 she wisely focused her attention on fixing her flagging recording career. As it stood, she hadn't had a major chart hit since 1976 with the exciting, tempo-shifting Disco classic, Love Hangover which topped both the Pop/R&B Charts and became one of the definitive Disco/R&B classics of the decade.

For her 1979 studio entry, Ross teamed back up with that dynamic duo, Nicholas Ashford and Valerie Simpson. These pair of genius singers/songwriters/producers/composers had weaved magical results on her solo studio albums Diana Ross (1970) and Surrender (1971), now definitive classics in Ross' catologue.

The project would be aptly titled The Boss. Ashford and Simpson once again captured the full extent and range of Ross' vocal abilities. She sounds stunning, soulful and in perfect Disco Diva mode throughout all eight of these superb, timeless recordings.

The Boss (1979) was like some form of statement on Ross' part. Feeling frustated by her controlling boss and one-time lover Berry Gordy, she purposely made sure that he had nothing to do with this project which some may say was Ross being difficult and tempremental but infact all she was actually doing was trying to exert her independence and prove not only to her audience but to herself that she could be her own person away from Berry Gordy and not just a mere product of the churning Motown machine. There once solid working and personal relationship was now floundering as Ross was growing as a person and was becoming increasingly more confident at the idea of controlling her own career. Diana Ross and Berry Gordy were two of the twentieth centurys most important figures in music that had helped change and shape the whole face of black music but the fact that for the first time in her career Berry Gordy had nothing to do with this project only hastened to drive a further rift between them which eventually led to Ross quitting Motown Records for pastures new.

Still despite the on-going trials and tribulations behind the scenes, The Boss album was triumphant and catapulted Ross back onto the music scene. The album saw a new hip, sassy, confident and more womanly Diana Ross and gain a whole new generation of fans.

No One Gets The Prize literally exploded onto the Disco scene, becoming an instant club hit. This rapidly led to the track becoming the albums premiere single. Ross' razor sharp delivery rides along a tidal wave of Funk-driven rhythms and hits high notes I previously hadn't known she could hit. Never before had Diana Ross sounded so pure and soulful. Her soft, silky voice brims with self-assurance, cutting through the hard-driving, pounding musical arrangements. No One Gets The Prize is an out and out Disco/R&B classic despite surprisingly never actually becoming a major chart hit on the mainstream charts.

Ross the Disco Diva gets down into boogie wonderland again on the Funk-ridden, sexually charged, I Ain't Been Licked. Her performance shifts direction as she begins sounding a little vulnreable but rises with the musical arrangements to shining self-assurance. Her voice is charged with fire and soul on I Ain't Been Licked and its hard to believe this never became a hit.

The exalting ballad All For One was, at one time, a number Ross loved to perform at her live concerts. Her angular vocals reach new heights as she pushes her vocals fowards forcefully and sounds vibrant and at her best on that dazzling crescendo.

Anyone who has qualms about Ross not being a soulful singer or not sounding black enough (what is that supposed to mean anyway?) will eat humble pie on just one listen of her impressively strong, seemingly acrobatic performance on the raging Disco masterpiece, The Boss. She begins the song in a breathy, seamless sound and then effectively alters vocal pitch as the second verse builds to the chrous. Ross smartly moves along to the sharp grooves and pumping, pulsating rhythms. Riotously funky! The Boss stands as one of her best ever Disco classics ranking alongside other such renowned greats in the Ross catologue, Love Hangover (No.1 Pop/R&B 1976), Upside Down (No.1 Pop/R&B 1980) and I'm Coming Out (No.5 Pop/No.1 R&B 1980). The Boss like No One Gets The Prize enjoyed mammoth club success though disappointingly only made it to No.19 on the U.S Billboard Charts (No.40 in the U.K.), despite being one of her all-time major classics.

The entrancing Once In The Morning, a hypnotic Funk-Disco affair, found Ross back in Love Hangover mode as the song somehow re-captures the vibe of that track. Ross delivers a hot, breathy, erotic performance as she neatly surfboards along the somewhat complex musical arrangements. Once In The Morning emerges as one of the major highlights of The Boss not to mention another masterpiece to credit Ashford and Simpson for.

The delightful Funk sounds of the catchy, though more intricate, It's My House has Ross yet again in glorious voice sounding so perfectly compatable with the breezy orchestrations. It's My House was one of the songs that made a strong declaration of her independence and thats what made her put in such a passionate vocal performance on the track. Though It's My House was only a relatively small hit (creeping to No.32 in the U.K) this stands as another out and out classic (and no i'm not being biased as a Ross fan).

Sparkle is far more glossy and extremely sophisticated. This exotic ballad is ignited by Ross' mesmerising vocal delivery and the exhilirating musical arrangements which is broken up at the bridge of the song by a sensational saxophone interlude.

I'm In The World is almost triumphant and encapsulates a sound of the more showbizzy material Ross delved into on at her live concerts in the 1970's. Ross is more self-assured and confident than ever on this track and proves she can hold a note. Diana Ross may not possess the power and volume of a singer like Aretha Franklin but her vocal delivery is distinctive, crystal-clear, unique and without doubt has soul. I'm In The World neatly closes this rollercoaster ride of an album on a fittingly sophisticated high.

Ashford and Simpson provided the enhancing gospel-like vocals along with Ulland McCullough and Raymond Simpson. The multi-talented Valerie Simpson is also credited for playing those gentle piano backdrops on each track. Jamming away on that pounding percussion are Sammy Figueros and Errol Bennet whilst working hard away on those pulsating basslines are Anthony Jackson and Francisco Centeno. John Sussewell provides those pattering drum beats where as Michael Bealer plays the gorgeous saxophone interludes through each track which reaches full effect on the ballad, Sparkle.

Berry Gordy deliberately did little to promote this album in retaliation to Ross' refusal to let him have anything to do with the project but The Boss went onto become a big hit regardless. Diana Ross was back bigger and better never having looked or sounded so great. One of the jewels in her crown. The Boss was certified Gold by the RIAA. One of the major highlights of her long-standing and illustrious career.

Ian Phillips

July 2006