16 Songs, 1 Hour, 7 Minutes

EDITORS’ NOTES

Mastered for iTunes

EDITORS’ NOTES

Mastered for iTunes
TITLE TIME
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Ratings and Reviews

4.9 out of 5

7 Ratings

7 Ratings

THE MEDLEY'S MISSING

maurice448

This is Diana's best Greatest Hits album,ever. The only problem is the missing 15-minute Medley.

Not Encompassing BUT Worthy

Beaux Luis

It took a decade for Motown to release a greatest hits compilation on inarguably their most successful and iconic artist.
1979-84 was the 3rd time she had a hot commercial resurgence (artistically and commercially, "The Boss" remains a defining moment in her career).
Her final years of her first tenure on Motown included the Ashford & Simpson masterpiece, "The Boss". Not only was the album great, but, the remixes were just as impressive. The lead title single's album/single edit could not be more perfect. That is until a month later, the #1 12 inch revealed a new level of vocal expertise. To this day, fans and foes cannot reconcile the ad libs that she soared up the octave scale. (To underscore, the brilliance of the Ashford & Simpson copyright became a #1 smash 3 times including Diana's legendary version, her idols...The Braxton's of reality star fame and then Dance artist, Kristine W. No single song has yet to accomplish this feat. The late Whitney Houston included her version on her HBO special, "Whitney sings the Classics".
The backstory on the second single, "Its My House" is that Mr. Gordy sent out a directive to the Motown promotion and marketing staff NOT to work this single because Diana was heavily rumored to being courted by other major labels to say "farewell" to her home for 20 years. Regardless, the extended mix received significant enough airplay at many of the new dance/pop stations like WSKX/Boston, KMEL/San Francisco, etc. The last half of the extended mix was punctuated by elegant brass reminiscent of the works when Diana Ross & The Supremes joined The Temptations for 2/#1 platinum albums and a single AND 2 gold albums. Years a later, a more subtle extended mix of "No One Gets the Prize" surfaced and then a euphoric mix of "I Ain't Been Licked" with some of the best ad libs of her long career.
After the success of "The Boss", "diana" would become her final Motown album and her best selling to date nearing 10 million globally. Initially "diana" was confusing even disappointing for fans. However, her more mainstream fan base celebrated its release Memorial Day Weekend 1980. It defined summer 1980. Diana earned critical props for remixing the Rodgers/Edwards (Chic) version. Years later, the "Chic"/original album mix was released. It's hard to say if that version would have been as successful. However, my personal take is that the Chic mix is preferable. The extended instrumental outtro may have been "too Chic", if you will...but to my listening it adds a great dimension. "Tenderness", a European single includes an extended, very club mix that is far better than the album.
Michael Masser was one of Diana's most important producer, clocking in 2/#1 Grammy nominated singles, for instance, but never an entire album. "To Love Again" changed that including the majority of the Masser-I producemd songs featuring "Its My Turn", her 3rd 1980 Top 10 single. Besides the movie soundtrack, including "Its My Turn" finally on a Diana Ross album. Strong selling point for "All the Great Hits".
The compilation is far too skimpy on any of her magnificent work on "Lady Sings the Blues".
A few of the great Supremes smashes had been remixed by a local Boston dj and became an underground hit. Instead of licensing that original remix, Motown decided to create their own version that was just not organically exciting.
It is a very difficult to create a greatest hits compilation on such a magnificent singles (as well as, album) artist that would satisfy everyone.
"All the Great Hits" is more "Some or Most of the Great Hits". The global platinum disc serves its purpose to capture Diana's 1970-80 career. Nearly 15 later, "One Woman/Forever, Diana" would become a global phenomenon. AllMusic.com gives "One Woman" 5 stars. It became her biggest international solo effort....5xs Platinum in the U.K., a special edition released in the Anglosphere, Asia and across Europe. It has even sold over 300,000 units in the states without ever hitting the charts.
But "All the Great Hits" is a worthy snapshot of her first decade as a solo artist. She instantly rivaled her massive success of her Supremes years. From pop, R&B, jazz and dance, "All the Great Hits" underscored that she remains one of the most versatile recording artist that solidified one of her many titles, The Original Diva!!!!

About Diana Ross

As a solo artist, Diana Ross is one of the most successful female singers of the rock era. If you factor in her work as the lead singer of the Supremes in the 1960s, she may be the most successful. With her friends Mary Wilson, Florence Ballard, and Barbara Martin, Ross formed the Primettes vocal quartet in 1959. In 1960, they were signed to local Motown Records, changing their name to the Supremes in 1961. Martin then left, and the group continued as a trio. Over the next eight years, the Supremes (renamed "Diana Ross and the Supremes" in 1967, when Cindy Birdsong replaced Ballard) scored 12 number one pop hits. After the last one, "Someday We'll Be Together" (October 1969), Ross launched a solo career.

Motown initially paired her with writer/producers Nickolas Ashford and Valerie Simpson, who gave her four Top 40 pop hits, including the number one "Ain't No Mountain High Enough" (July 1970). Ross branched out into acting, starring in a film biography of Billie Holiday, Lady Sings the Blues (November 1972). The soundtrack went to number one, and Ross was nominated for an Academy Award.

She returned to record-making with the Top Ten album Touch Me in the Morning (June 1973) and its chart-topping title song. This was followed by a duet album with Marvin Gaye, Diana & Marvin (October 1973), that produced three chart hits. Ross acted in her second movie, Mahogany (October 1975), and it brought her another chart-topping single in the theme song, "Do You Know Where You're Going To." That and her next number one, the disco-oriented "Love Hangover" (March 1976), were featured on her second album to be titled simply Diana Ross (February 1976), which rose into the Top Ten.

Ross' third film role came in The Wiz (October 1978). The Boss (May 1979) was a gold-selling album, followed by the platinum-selling Diana (May 1980) (the second of her solo albums with that name, though the other, a 1971 TV soundtrack, had an exclamation mark). It featured the number one single "Upside Down" and the Top Ten hit "I'm Coming Out."

Ross scored a third Top Ten hit in 1980 singing the title theme from the movie It's My Turn. She then scored the biggest hit of her career with another movie theme, duetting with Lionel Richie on "Endless Love" (June 1981). It was her last big hit on Motown; after more than 20 years, she decamped for RCA. She was rewarded immediately with a million-selling album, titled after her remake of the old Frankie Lymon and the Teenagers hit, "Why Do Fools Fall in Love," which became her next Top Ten hit. The album also included the Top Ten hit "Mirror, Mirror."

Silk Electric (October 1982) was a gold-seller, featuring the Top Ten hit "Muscles," written and produced by Michael Jackson, and Swept Away (September 1984) was another successful album, containing the hit "Missing You," but Ross had trouble selling records in the second half of the 1980s. By 1989, she had returned to Motown, and by 1993 was turning more to pop standards, notably on the concert album Diana Ross Live: The Lady Sings...Jazz & Blues, Stolen Moments (April 1993).

Motown released a four-CD/cassette box set retrospective, Forever Diana, in October 1993, and the singer published her autobiography in 1994. Take Me Higher followed a year later, and in 1999 she returned with Every Day Is a New Day. 2000's Gift of Love was promoted by a concert tour featuring the Supremes, although neither Mary Wilson nor Cindy Birdsong appeared -- their roles were instead assumed by singers Lynda Laurence and Scherrie Payne, neither of whom had ever performed with Ross during the group's glory days. In 2006 Motown finally released Ross' lost album Blue, a collection of standards originally intended as the follow-up to Lady Sings the Blues. The album I Love You from 2007 featured new interpretations of familiar love songs. That same year the cable television network BET honored Ross with their Lifetime Achievement Award. ~ William Ruhlmann

HOMETOWN
Detroit, MI
BORN
March 26, 1944

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