“Down”…Moves Up!

From THE DIANA ROSS PROJECT on Instagram: “I’m Coming Out/Upside Down 2018” moves up to #31 in its second week on the Billboard Dance Club Songs chart. Congratulations, Ms. Ross!!

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Diana’s Back on the Charts…Again!

Perfectly timed for Pride month, a pair of Diana Ross classics is back on the Billboard Dance Club Songs chart.  For the week of June 16, 2018, “I’m Coming Out/Upside Down 2018” debuts at #42.  Here’s hoping it follows the recent “Ain’t No Mountain High Enough” to #1!!

Congrats, Miss Ross!

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Eaten Alive (1985): EXTENDED POST!

Love it or hate it, Eaten Alive remains an essential part of the Diana Ross discography; while the album marked a turning point for Miss Ross and her reception at pop radio in the United States, it gave her a runaway smash around the world thanks to the sterling single “Chain Reaction.”  Read all about the album in my new track-by-track discussion by clicking HERE!

Billboard: September 28, 1985

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My (Fake) “Mother Dear” Picture Sleeve

I made up this “Mother Dear” picture sleeve for Instagram — just as a little fun “could have been” for Supremes fans.

“Mother Dear” is one of the great Supremes non-singles, an absolutely sparkling record that could have easily added to the group’s string of successful singles.  It was, in fact, considered for release; The Supremes performed “Mother Dear” on television a few times, proving how seriously Motown execs were looking at the song, and it was even assigned the same catalog number as “Nothing But Heartaches” (Motown 1080), but eventually cancelled in favor of that song.  Whatever the reason “Mother Dear” was held back, it’s a fantastic recording, and one ripe for discovery by those only aware of the group’s big hits.

So would “Mother Dear” have given the group a sixth consecutive #1 hit?  Let me know what you think…

Here's my version of a single cover for "Mother Dear" — which was scheduled to be the follow-up single to "Back In My Arms Again," but was canceled at the last minute in favor of "Nothing But Heartaches." Although "Mother Dear" was issued a catalog number, it didn't get a picture sleeve since it was never released…so here's my interpretation of what it might have looked like. So would "Mother Dear" have given the Supremes a sixth consecutive Number One single? What do you think?? #dianaross #Motown #MissRoss #MsRoss #Supremes #TheSupremes #music #soul #classic #icon #legend #diva #marywilson #florenceballard #berrygordy #hollanddozierholland #motherdear #fake #picturesleeve #hitsville #hitsvilleusa #dianarossproject #linkinbio

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Swept Away (1984): EXTENDED POST!

Although her much-publicized Central Park concerts and appearance on the famed television special Motown 25: Yesterday, Today, Forever failed to give her previous album a boost, Diana Ross returned to the music scene in a big way with 1984’s Swept Away, her first solo album ever to feature three Top 20 pop hits.  Read all about the making of the album and my all-new discussion of every single track by clicking HERE!

Billboard: December 1, 1984

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Diana Ross Project on Instagram!

FYI — The Diana Ross Project is on Instagram!  I’ve been posting lots of vintage Diana Ross advertising images, articles, and little videos for some of my favorite songs.  Since Diana herself is on Instagram, it seemed like the Project should be, too!  Hope you all enjoy.

MISSING YOU (1984): A Number One R&B hit and perhaps Diana's greatest vocal performance on a ballad ever, "Missing You" was written by Lionel Richie and dedicated to the recently passed Marvin Gaye. The single got off to a very slow start when released in December of 1984, but continued to build momentum until it finally peaked within the pop top 10 and topped the R&B charts, giving Diana the biggest R&B hit of her career. A masterpiece, it's mystifying that Miss Ross didn't win a Grammy award for this performance, let alone even score a single nomination. #DianaRoss #Motown #RCA #MissRoss #MsRoss #Supremes #TheSupremes #music #soul #classic #icon #legend #diva #missingyou #sweptaway #lionelrichie #marvingaye #smokeyrobinson #dianarossproject #linkinbio

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Ross (1983): EXTENDED POST!

1983 would bring Diana Ross some of the biggest publicity of her career, although little of it would have to do with her new album that year.  From her pair of historic Central Park concerts to her appearance on the television event of the year, Motown 25: Yesterday, Today, Forever, Miss Ross made entertainment headlines but was strangely ignored by radio when it came to singles from her third album for RCA Records, Ross.  Fans remain divided on the album, but it’s a fascinating entry into her discography, with some stunning moments of crisp production and strong vocals. Read a newly-researched and expanded breakdown for the album by clicking HERE!

Jet: August 22, 1983

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Silk Electric (1982): EXTENDED POST!

The “RCA era” continues with one of the most discussed and debated Diana Ross albums ever — 1982’s Silk Electric.  Led off by a single written and produced by Michael Jackson, the strange collection of songs here is truly a journey into the mind of an artist enjoying a no-holds-barred creativity.  Read all about the album in an all-new extended discussion by clicking here!

Billboard: November 13, 1982

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Why Do Fools Fall In Love (1981): EXTENDED POST!

Really excited about delving back into the RCA-era of the Diana Ross discography, and very proud of this all-new discussion of 1981’s Why Do Fools Fall In Love.  New research has shed some interesting light for me on the conception and recording of Diana’s first self-produced LP, and there’s even some fascinating never-before-revealed insights from songwriter Laura Taylor, whose “Think I’m In Love” was slated for a time to be the album’s first single!  So what are you waiting for?  Click HERE to read the all-new, extended discussion of Why Do Fools Fall In Love — it’s never too late!

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“Nothin’ Stays The Same”: The Story of TO LOVE AGAIN (1981)

It marked the end of an era in more ways than one — 1981’s To Love Again set Diana Ross free from her record label of twenty years, and would be her final recorded work with producer Michael Masser.  Read more about the album and an analysis of every single track HERE.

Billboard: October 18, 1980

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