Why Do Fools Fall In Love - Diana Ross

...a big factor as to why she left Motown (not to mention the $20,000,000 they gave to her of course!). At RCA she was able to control all of her recording work and after having surrounded herself with several experienced studio technicians, set about producing her first album for RCA.

The album in question was of course Why Do Fools Fall In Love, released in September 1981, six months after its origanal scheduled date. The title track ...
...critcs (rather predictably) slated. However Why Do Fools Fall In Love (deservedly) became a Cross-Atlantic Top 10 smash hit success and proved a great kick start to her somewhat erratic stint on the RCA label (she returned to Motown Records in 1988).

The second single release was far more diverse and adventurous. The startling funk-driven rock number Mirror, Mirror, was a dramatic change in style for Ross. Ross really bites into the ... more

In 1981 soul music legend Diana Ross hit the headlines when it was announced that after twenty successful years she was fleeing Motown Records for a whopping $20,000,000 deal with RCA Records. Ross had signed to Motown records at the tender age of 16 and gradually became the labels biggest selling artist. Motown was the pioneering record label in black music and Ross and the companys boss Berry Gordy had helped change and shape the whole face of black music in the twentieth century.

Ross went to Berry Gordy to see if he could match RCA Records' deal for $20,000,000 but he simply told her he could not afford such an extravagent deal and pointed out to her that she would not be afforded the same lavish care and attention her career had always received elsewhere. When Ross' contract expired in early 1981 she was adament that she was not renewing and taking up RCA Records' extravagent deal which obviously sent shockwaves through Motown.

Ross had become increasingly frustated by the lack of artistic freedom she had over her recordings at Motown and she claims this was a big factor as to why she left Motown (not to mention the $20,000,000 they gave to her of course!). At RCA she was able to control all of her recording work and after having surrounded herself with several experienced studio technicians, set about producing her first album for RCA.

The album in question was of course Why Do Fools Fall In Love, released in September 1981, six months after its origanal scheduled date. The title track inevitably was the projects first release as a single.

It did seem slightly odd that as Ross was wishing to enter a new phase in her career and create a new sound with her music that she would immediately cover an old 1950's classic. Frankie Lymon And The Teenagers origanal version had been created and inspired around the streets of New York. Ross' bouncy, feel-good version is, for all intents and purposes, pure Las Vegas kitsch which many critcs (rather predictably) slated. However Why Do Fools Fall In Love (deservedly) became a Cross-Atlantic Top 10 smash hit success and proved a great kick start to her somewhat erratic stint on the RCA label (she returned to Motown Records in 1988).

The second single release was far more diverse and adventurous. The startling funk-driven rock number Mirror, Mirror, was a dramatic change in style for Ross. Ross really bites into the lyrics sounding remarkably effective and much earthier than usual which gels well into the metalic-like musical arrangements that contain many heavy, thrashing guirtar interludes throughout the track. Mirror, Mirror raced into the Top 10 charts as well as hitting the U.K Top 40.

Following on from the success of the stunning Mirror, Mirror, a third single was issued, Work That Body that was seemingly Ross' answer to Olivia Newton Johns Physical. Work That Body is a fairly catchy number with its sparse, funk-driven rhythm, soaring backing vocals and a sharp vocal performance from Ross. However admitedly this track is dated now. Work That Body crawled to No.37 in the U.S whilst enjoying far more recognition in the U.K where the track propelled into the Top 10 charts.

In the U.K obviously cashing in on the success of the Top 10 hit Work That Body, a fourth single was issued with It's Never Too Late. It's Never Too Late was a so-so disco number that did actually lack the initial immediacy and spark of her far superior disco classics such as the unforgetable,The Boss and the super-funky Upside Down and rip-roaring anthem I'm Coming Out. It's Never Too Late (which sounded like it had been recorded in the late 70's) just missed the U.K Top 40, stalling at No.41.

The remainer of the Why Do Fools Fall In Love (1981) project was a mostly enjoyable affair. The slick, sultry Sweet Surrender was another startling number. The smooth, lush arrangements career along at a hypnotic pace with Ross' evocative, sexually-charged delivery igniting the frivoulous lyrics that contain mild undertones of erotic fantasies.

Think I'm In Love is a gentle, light-hearted ballad that is nothing that unusual for Ross but is still compelling on hearing Ross' gorgeous, exuberant delivery which compliments the beautifully mellow arrangements that contains a warm reggae beat.

Ross' raging version of Sweet Nothins' contains a glorious saxophone interlude at the bridge of the song and Ross' vocals are seamless where as more familiar was the formulaic ballad Two Can Make It which is made exhilirating simply because of Ross' delicious delivery as it is on any ballad that Ross sings on that brings out the true depth and essence in Ross' unique vocal style.

However the surprise stand-out recording is her rocketing solo intepretation of Endless Love (that is arguably even more effective than that of her more famous version with Lionel Richie (which spent nine weeks at the top of the charts earlier that year). Endless Love captures one of Ross' strongest vocal performances on record, sounding utterly dynamic as she literally belts out those long, lingering notes at the exalting climax.

The Why Do Fools Fall In Love (1981) became a double platinum seller jumping into the U.K and U.S Top 20 album charts. This certainly is a recommended album for Ross fans but others won't particularly care.

(Incidentally the cover featured Ross looking divine where she is dressed in a revealing zebra-skin outfit with her hair blowing wildy around - which were probably hair extensions anyway!)

Ian Phillips

July 2006 

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