Everything Is Everything (1970)

“This is my retreat, we’re together, and My Place is now even better…”

These days, when it’s common for artists to take three or four years between releasing studio albums, it seems astonishing that Diana Ross’s second solo album hit shelves just a few months after her first.  It also seems strange given that the first album – while not a blockbuster hit – was a strong success, and featured a #1 hit in “Ain’t No Mountain High Enough.”  Though the company potentially could have pulled further singles – “Something’s On My Mind” for example – it instead moved on to this album, featuring a completely different behind-the-scenes team and sound.

Everything Is Everything was put together by Deke Richards, who employed the work of several songwriters (including Aretha Franklin, Marvin Gaye, the Beatles, and Burt Bacharach) and also producers such as Hal Davis to fill up its eleven tracks.  Given the variety of material and production credits, the album immediately stands in contrast to its predecessor, Diana Ross, which was a cohesive work delivered by the songwriting/production team of Nick Ashford and Valerie Simpson (except for one track).  That cohesiveness is sorely missing here, on an album that has its share of both strong and weak efforts.

Taken on its own terms, Everything Is Everything is a good, listenable piece of early 1970s pop/soul.  It is, without a doubt, dated – the very title of the album, a popular catchphrase of the day, indicates that.  While still a stronger release than anything put out by Diana Ross & The Supremes in the last few years of their career, this album is closer in spirit to those albums than to 1970’s Diana Ross, because there’s not necessarily a theme to the work as a whole.  The songs of Diana Ross told the story of a young woman emerging into solo stardom through a collection of exciting, passionate performances.  Everything Is Everything instead is more of a showcase of what Diana Ross could do with a song as an interpreter (especially cover songs) – which, at times, is wonderful…and at other times is a little less than inspiring.


1.  My Place:  The album opens with an upbeat Hal Davis production that immediately contrasts with the work Diana Ross has done with Ashford & Simpson.  The bouncy, energetic pop song is standard Motown all the way, and while Diana does a nice job on the vocal, it doesn’t stretch her much more than anything she’d done with the Supremes years earlier had.  The sound quality – somewhat gritty and tinny – also sounds much closer in spirit to “In And Out Of Love” or “Love Child” than the high-gloss, epic “Ain’t No Mountain High Enough.”  I could have lived without the accordion-interlude, and wish Diana’s vocal was less mushy during her singing at the end, but “My Place” certainly isn’t the weakest track on the album.  I have to say, though – television producers totally missed the boat on this song.  Doesn’t is sound like it would have been a perfect opening-credits theme for a 70s sitcom?

2.  Ain’t No Sad Song:  A true soul/funk song – the kind of which Diana rarely recorded, unfortunately – this could have easily found a place on an early Millie Jackson album.  The problem here isn’t with the production or the performance, but the fact that the song doesn’t have a memorable lyric.  It is, in fact, an odd composition, with no identifiable verse or chorus (at least to my ear).  Had there been a catchier, sing-along lyric, this would have been far stronger track; instead, it merely showcases an earthy, funky vocal from Diana.

3.  Everything Is Everything:  Essentially “My Place – Part 2” – the title track of the album is a similarly bouncy pop song that is much more classic late 60s/early 70s Motown than much of the other work Diana Ross had been recording.  The repeated use of the phrase “everything is everything” and lyrics like “everything is groovy” don’t help this song to age very well, and while Diana again sounds youthful and fun on the track, it’s not much of a vocal showcase for her and the song isn’t one that likely would have burned up the charts.

4.  Baby It’s Love:  After three pretty good but not particularly memorable songs, “Baby It’s Love” kicks the album up a notch.  This is one of the best album tracks of Diana’s early 70s career; a smooth, soulful song co-written by Marvin Gaye.  The instrumental track certainly sounds like the work Marvin was turning out at the time, with a notable sax line and some nice percussion and guitar work.  Above all, “Baby It’s Love” allows Diana a chance to give a breathy, sexy performance that, while not as challenging as much of her vocal work with Ashford & Simpson, is just as mature and appealing.  Certainly her growth as a vocalist is evident in this song, as the “cute” affectations that often bogged down her work with the Supremes are nowhere to be heard.  Though it’s one of the lesser-known songs of her early career, this is one of her best.

5.  I’m Still Waiting:  This is the most recognizable song from the album, and the sole single released from it in the US.  Fans in the United Kingdom apparently fell in love with it, and “I’m Still Waiting” sailed to #1 there and became one of Diana’s most popular recordings; the single nowhere near equaled that success in the states, not even making the Top 40.  This is unfortunate, because “I’m Still Waiting” is a lovely, melodic pop ballad that ranks among the best on the album.  One of the few Deke Richards originals on the album, it’s a perfect song for Diana.  Without a doubt, what Miss Ross has always done best with her songs is to tell compelling stories, and this is a perfect example of what she could do as both an actress and interpreter of lyrics.  Diana scales back her vocal, sounding young and fragile here while telling the story of losing her childhood love, and the track itself is highlighted by a memorable guitar intro and soulful background vocals.  While not as dazzling a song as “Ain’t No Mountain…,” this song is an understated, deceptively simple work that merits greater recognition in terms of Diana’s early career.

6.  Doobedood’ndoobe, Doobedood’ndoobe, Doobedood’ndoo:  The second Deke Richards composition in a row, this is another strong addition to the album and kind of makes you wonder how much better it would have been if the entire album had been written and produced by him.  This oddly composed, episodic song features a laid-back groove on the verses which crescendos into an gospel-esque, choir-laden chorus.  If not for the completely insane title, this probably could have been a single; it straddles the R&B/pop line nicely and while as contemporary as anything else on the radio in 1970, was also different enough that it could’ve garnered some good airplay.  Diana sounds nice here, but her vocal during the fade-out is particularly impressive, as she jumps an octave while singing “I just started livin’…”  This is the kind of singing she had done on almost every track of her previous solo album, and it’s a shame she hasn’t let loose more often here, especially on a song like this one which merits the kind of vocal gymnastics that Diana was more than capable of performing, but isn’t necessarily known for.

7.  Come Together:  The first of two Beatles covers, this one is certainly the far superior.  Again produced by Deke Richards, the track and arrangement here sound like they were tailor-made for the Jackson 5 – which makes sense, since Richards was part of the crew responsible for the group’s phenomenal run of hits.  For proof, listen to Diana’s call-outs at about 4:30 into the song (which runs nearly seven minutes); her “C’mon y’all!” sounds exactly like something Michael would done in the same song (which also makes sense, as Michael Jackson admittedly emulated Diana Ross in his early career).

8.  The Long And Winding Road:  This is unquestionably the low-point of Everything Is Everything, a nauseating piece of MOR that sucks the soul right out of the string of good songs that come before it.  Perhaps I’m a little biased because I’m not a Beatles fan, but the song is a laborious, overwrought ballad that, like the title suggests, seems to meander along while never actually getting anywhere.   Diana, unfortunately, doesn’t rise above the material, and brings some of her Supremes affectations back from the dead here, stretching words like “here” into “hee-aaaaah” and “disappear” into “disa-peeeee-ahhhhh” in the overdone, show-biz sort of the singing she often incorporated into her medleys of hits during live shows in the late 1960s.  This is disappointing in light of the fresh, inspired singing she’d turned in for her solo debut album and on a few cuts on this album.  If any song should have been left in the vaults, this is it.

9.  I LoveYou (Call Me):  Thank God, after the disaster of the former song, Diana and Deke do a 180 and turn in the highlight of the entire album.  Their cover of the Aretha Franklin hit was (in a rare display of extremely good taste) nominated for a Grammy as Best Female R&B Vocal Performance and is easily one of the best recordings Diana Ross made in her early solo career – and maybe in her entire solo career.  The soulful ballad is perfectly produced, thankfully eschewing the rest of the album’s tendency toward using dated instrumentals, and the background vocals are superb.  Front and center is one of Diana’s more impassioned vocals, mixing both the breathy sexiness of the earlier track “Baby It’s Love” with the strength of her cuts with Ashford and Simpson.  Her “Don’t for-GET!” at 2:42 into the song is perhaps the most raw her voice ever sounded on record.  Though Aretha Franklin is cited by many as the world’s best female vocalist – Diana’s version of “I Love You (Call Me)” easily stands with the original and her voice and interpretation are just as affecting as Aretha’s.  The next time you hear someone say Diana Ross was nothing more than a bubblegum pop singer or that she wasn’t truly a “soul” artist – play them this song.

10.  How About You:  A Deke Richards-original that sounds like something Dionne Warwick might have recorded as an album track in the 1960s.  Unfortunately, it’s placed directly after the masterpiece of “I Love You (Call Me)” and directly ahead of a song Dionne Warwick actually did record in the 1960s, both of which are so much stronger that this song literally disappears between them.  Not a bad inclusion, but certainly not a hidden gem.

 11.  (They Long To Be) Close To You:  An amazingly good version of the oft-covered song, and one that manages to avoid falling into the trap of being way too saccharine and sappy.  The production is helped immensely by the soulful backing vocals, which lift the song out of its pure pop origins.  Diana turns in a nice, simple performance, and even the addition of a few spoken passages don’t sink the production.  This had the potential to be another “Long And Winding…” – but thankfully both Deke and Diana sound far more inspired on this track and it turns out to be one of the better songs on the album.

Note: For information on bonus tracks from this album, click HERE.


There is no doubt that there’s an unevenness to Everything Is Everything which results in it sounding more like a collection of songs than a complete album.  Even Diana Ross apparently knew this, having said “I wasn’t satisfied with the Everything Is Everything album…When I do an album, I like it to be good all the way through”  (David Nathan, The Soulful Divas, 153).  Still, there are some strong productions here that tend to be overlooked in the context of Diana Ross’s solo career.  Later in the decade, Diana would sometimes play it safe, following much more closely to the melody of the songs she recorded and shying away from recording songs that required her to push her voice.  But Everything Is Everything captures the singer at a time when she was still experimenting with her sound as a solo artist, and when she scored, she scored big.

Final Analysis:  3.5/5 (Almost Everything “Comes Together”)

Choice Cuts:  “I Love You (Call Me),”  “Baby It’s Love,”  “I’m Still Waiting”

The Grammy nominees for Best Female R&B Vocal Female Performance that year were:
Aretha Franklin, “Bridge Over Troubled Water” (Winner)
Jean Knight, “Mr. Big Stuff”
Janis Joplin, “Pearl”
Freda Payne, “Contact”
Diana Ross, “I Love You (Call Me)”


About Paul

Album-by-album, track-by-track, a look at the entire Diana Ross discography...
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45 Responses to Everything Is Everything (1970)

  1. Nice job! Very thoughful and insightful,

  2. Everett says:

    I fell madly in love with I’m Still Waiting and couldn’t believe that it wasn’t a hit in the US. And since (I Love You) Call Me was nominated for a Grammy, why wasn’t it released as a single? It had great chart potential. Perhaps it was too soon after Aretha’s version. But Aretha’s version was only a hit on the R&B charts. Diana’s version could have easily topped the pop charts. Here was the first example of Diana being put in the wrong category. Her version should not have been in the R&B category. She’s pure pop on the song and could beat Aretha in that category (and later Natalie Cole).

  3. Everett says:

    Angry fingers make mistakes! I was trying to say that Diana could never defeat Aretha in the R&B category. One of the reasons being that the Grammys are voted on by its primarily white members and most of them have a preconceived idea of what a black woman should sound and look like (Aretha, yes. Diana, no).

  4. Paul says:

    Thanks VintageDaytona!

  5. Paul says:

    Everett — I totally agree that at the time, there was no way anyone but Aretha was winning R&B Female — she dominated for years, so Diana never had a chance of winning that Grammy, no matter how good her performance. It is weird that “I Love You (Call Me)” wasn’t released as a single — I guess it was too soon for a cover version to be released — but it was one of the best candidates for a single release from the album. There were a couple of hits that I think Motown missed from this album!

  6. Everett says:

    I think Motown was overly ambitious at that time. There was a lot going on in the music world… I don’t think there were any single releases from Everything is Everything, was there? I was buying primarily singes back then (still a teenager). I think How About You and Close to You were B sides if I remember correctly. And although Doobedood’ndoobe had the right idea, it missed with the weird change in tempo and very weird lyrics (title). Guess that’s why it was a hit in England! After receiving a Grammy nomination, I Love You (Call Me) should have been released as a single (Not really too soon after Aretha’s since hers was only an R&B hit and Motown had previous success with releasing Marvin’s Grapevine less than a year after Gladys’.

  7. Alan Trevor says:

    Aretha’s (I Love You) Call Me made US 13 pop, US #1 R & B. It didn’t chart in the UK. Diana’s version is good, but Aretha’s tears it up.

    I’m Still Waiting was an iconic Diana track in the UK, #1 for 4 weeks in summer 71 [whilst she was having Rhonda!], and the biggest selling Motown single in the UK at that point. So the EIE album did have some success here.

    I don’t think there’s any way Motown US would’ve released ILYCM as a single – too soon after Aretha’s hit, and we all Motown preferred to release their own [Jobete] copyrights whenever possible to make the maximum profit. Any writer’s royalties would’ve gone to Aretha – not Motown.

  8. Donnie Conner says:

    I love the track “What Are You Doing For The Rest Of Your Life” from the expanded edition of this album. Proof, once again, that no one sounds like or as good as Diana Ross when she is pouring her soul into a performance!

  9. Paul says:

    Donnie — I love that song, too — it should have been placed on this album originally, in my opinion, probably in place of “The Long And Winding Road.” I also like the alternate version of “Ain’t No Sad Song” on the expanded edition WAY better than the original version!

  10. Paul says:

    Alan — very true — it makes sense that Motown would want to release songs by in-house writers to make more money in the US. I hadn’t though of that before. I guess that’s why they chose not to release the Stylistics’ covers from “Diana & Marvin” (“You Are Everything” and “Stop, Look, Listen”) — which in my opinion are the best two songs on that album and should have been big hits in the states!

  11. Alan Trevor says:

    Thanks, Paul.

    Also, the two Stylistics tunes had already been US hits, so I guess Motown figured that Diana’s & Marvin’s versions wouldn’t get too far over there.

    As i’d said, there’s also the issue, IMO, that Motown preferred wherever possible to hit with their own copyrights, in order to maximise their profits.

    I personally agree that You Are Everything by D & M is an absolute classic!

  12. wayne2710 says:

    Love what you’re Doing Paul !
    Strangely enough my own personal favourite track from this album has always been The Long and Winding Road – just shows how we all differ 😉

  13. Paul says:

    Wayne — thanks for stopping by — your post made me laugh! I knew I’d get someone who loved that song 🙂 I have a feeling there could be some debate soon enough when I tackle her 1976 self-titled album…which a lot people love…but me, not so much! Keep your comments coming!

  14. Lawrence says:

    For some reason, even though this isn’t the most cohesive album, I always love playing it. Diana sounds so young and full of life. There is a joy on almost every cut and the covers are fun (and a bit Vegas).

    I think you should do a book with all these essays!!! I’d be happy to help in any way possible. Your articles are so insightful. It’s time someone did a very thorough and critical analysis of her work. Best, Lawrence

    • Paul says:

      Lawrence — there is certainly a youth and vibrance here that I like, too — personally, I just wish a few of the songs had been changed out for others, so that the quality was a little more consistent. And thanks for the comment about a book – – once I get a little further into the blog and post some more reviews, I’ll be thinking about it! I agree that more people need to be aware of what a talented, versatile singer Diana Ross is — when people ONLY refer to her as a “fashion icon” it gets me so irritated!!

  15. spookyelectric says:

    I always thought of this album as one of her weakest of the 70s, and being sandwiched between those two genius Ashford & Simpson didn’t help either. Compared to the craft and ambition of the those, it seemed a little twee and throwaway – covers of hits of the day and a handful of pleasant poppy numbers from various Motown house producers.

    But over time it’s grown on me more and more. I always love her take on Aretha’s ‘Call Me’ but ‘Baby It’s Love’ took a while to get under my skin. The ‘I just started living’ refrain on ‘Doobedoobe’ is of course magnificent – almost touching the heights of her Ashford & Simpson sides. Like you say Paul there’s a youthful energy here that remains over the years. I never was a big fan of ‘I’m Still Waiting’ but I get the appeal of the lyric – of that type of lush pop ballad from her catalogue I always felt ‘All Of My Life’ and ‘Touch Me’ were much stronger – I was surprised when I found out what a huge hit it had been (in the UK that is).

    One last thing – I didn’t realise till very recently the opener ‘My Place’ was originally recorded by Motown group The Devastating Affair (who went on to do backgrounds Diana & Marvin’s ‘You’re A Special Part of Me’, another tune they’d recorded before). I think I prefer their funkier arrangement…

    • Paul says:

      Wow — who knew about the version by The Devastating Affair??? That was news to me! I think their version sounds “fuller” and less tinny than Diana’s ultimate recording, although I’m still not a huge fan of the song — it just still sounds so “70s sitcom theme song” to me!

      • spookyelectric says:

        I know what you mean – there’s something very Mary Tyler Moore about a lot of this record – right down to that odd pose on the sleeve. The whole ‘groovy pop’ approach has dated a lot of it far more that any of her other albums from the period for sure. Still it’s fun.

        Crazy to think how many albums Motown were chucking out on the market with Diana’s name on them at the time – especially when those A&S albums had hit written on virtually every track.

        On more thing – ‘Baby It’s Love’ co-written by Marvin & Anna Gordy – probably the best track on this album all things considered. I recently heard a Miracles album from the early 70s – the stand-out track was ‘I Love You Secretly – written by Marvin & Anna. Had a quick look into what else they wrote together in that period and there’s not a dud tune amongst them – The Originals’ doo-woop soul tunes ‘Baby I’m For Real’ and ‘The Bells’ are incredible, Nancy Wilson’s take on ‘We Can Make It Baby’ is great… worth checking out!!

  16. spookyelectric says:

    Just discovered in the last few weeks that ‘How About You’ is a cover from the late 60s. Deke Richards first recorded the song on Chris Clark – Motown’s answer to Dusty Springfield. The woman who soon become Berry’s girlfriend and later script editor I believe on ‘Lady Sings The Blues’ I believe – lots of connections there! Anyway here’s the CC version – better than Diana’s I think!

    • Paul says:

      WOW!!!!!! Who knew?? Thanks for this! Diana and Chris were strangely connected in many ways — I’d love to ask Diana about Chris today…though it might get me a very angry response!! 🙂

  17. OK, Paul! I’ve now started over on your list to reread and add comments. I actually first purchased this album in January of this year, 2012, when going cold turkey off of a long, ten year stint, of being on massive amounts of pain killing medication, culminating with the equivalent of well over a gram of heroin per day, for over three years by taking the med — oxymorphone. This banned substance (from 1969 until 2006 due to the high incidents of drug overdose deaths in the sixties drug culture, known as “blues” or “nublues” then), is the same formulation of morphine that oxycodone/OxyContin is to codeine. Basically, morphine to the third power. Why tell this part of my sob story? As with all other difficult situations in my life, The Diana Ross music catalog played a saving and redundant role in getting me through such strife, heartache, pain, sadness or all of the above throughout my life. As I headed into day 4 of withdrawal, against my doctors advice, but determined to get off such strangling chemicals, with no drug help or tapering down, I realized the drug withdrawal message boards were correct in what was perceived as excruciating discomfort through day three, suddenly seemed like utopia compared to what was beginning to take over. Won’t go there. But! I knew I needed to pull out the big gun! And yet, the usual playlist and multiple alternate playlists weren’t gonna work this time. i needed new Diana Ross. But what to do? I frantically and manically searched iTunes, and decided to brave it into new DR territory. My first purchase: Everything is Everything. Not sure it was the absolute best choice, of the older and early seventies material, but the cover photo nailed it. 240-plus dollars later I eventually purchased everything in her catalog that was available. All within a 48 hour period. Then, on my own, and with the clarity, only severe drug withdrawal can provide, I discovered an entire period of music that I previously had been a too “modern” Diana fan to bother with. What a decades old mistake! These stellar albums are now labeled on my iPhone as “LSOWD” or Life Saving Opiate Withdrawal Diana. I am a true believer in things happening for a reason/the way they are suppose to, and this discovery still enables me to look back on those extreme 10 to 12 weeks, with mixed feelings of inevitable reactionary and horrific discomfort, anguish and pain and extreme good fortune and positive pleasant recall. Had the drug issue been a non-one, would I have ever even discovered these, now favorite, recordings? And I know for a fact that had I not decided on that fateful day to quite cold turkey; therefore, never grasping for what became LSOWD, I would have never discovered your site and “The Project.” It was my want of the new and extended Baby It’s Me offering this past July that I searched Google and immediately found this great sight. Did a nasty morphine addiction lead me to you and your sight? Maybe. Can you see why I get paid big bucks for writing ad-nausea, overly verbose, self serving, and remarkably tedious passage? Probably! But how serendipitous that after all these decades of devotion and music listening i managed to ignore this best period of her solo output, and then realizing you had decided to chronicle this output, track by track, only months later?

    Enough of my bullshit though, and on to my comments, Which are short and sweet. i agree with everything you wrote, except I LOVE How About You. SO much so, that I have 10 tracks of it in a row on a continuous spool of play on my iPhone. It is quintessential “pop” Diana we have all pined for and continually wanted for years. How this wasn’t a hit in the era of “Angie Baby”, “Dark Lady,” “Sing,” “Teach the World to Sing in Harmony” and other pop 70’s silly, vapid confections is a bewilderment to me. Even my three boys and wife know this song by heart (more on that later). Secondly, Ain’t No Sad Song, Really? The Alternate version? Another great pop confection,now that we can hear the way that song should have been produced with the expanded edition of the LP. Another AM Radio potential hit with the Alternate version has to be acknowledged.

    I promise, no more novels! I just had to share how my discovery of your site and all that goes with it, conspired to come together. I am probably a little to over-stoked (beach dude here, sorry) about finding a forum where persons are actually interested and taking the time for a subject matter that, I myself, have found fascinating and tried to revel in with others, to little or no excitement…until now. On my honor as a paid professional writer, I pledge to cease with the self-centered and self gratifying stories that involve the Big D and my entangled and richly storied life and career…for the most part…unless absolutely necessary to the dialogue…or important for the context of the comment…or integral to expressing a point about a particular time period in relation to a Diana Ro…. “Goddammit Rick, shut the +%# up! He get’s it! OK? Jesus F’n…” …K. sorr… “Don’t even…”

    Best and Thanks, Rick Santamonica

    • Paul says:

      Okay…..wow…..what a story. You are more than welcome to post novel-length comments here, because your story is amazing!!!!!! Let me just say I am so glad that you pulled through your addiction problems, and I’m not in the least bit surprised that Diana was the catalyst in that. That is the power in her music — I have no idea how my life would have turned out had I not had Diana Ross there for me through the years. Albums like EVERYTHING IS EVERYTHING are easy to ignore due to the lack of big hits, but they containe so many hidden treasures! It’s a shame that the general public is unaware of songs like “I Love You” and “Baby It’s Love” — and I TOTALLY agree, “Ain’t No Sad Song” in the alternate version is WONDERFUL — why in the world was that version left in the vaults???

  18. Luke says:

    Paul, despite the fact that I agree with the 99% of your excelent work you’ve done about Miss Ross’ solo discography, I must admit that I disagree with the comparison of almost each song of this fine album with “ain’t no mountain high enough”. Ok, it was a strong song, but it was not the best song Diana Ross ever recorded, in my personal opinion, and it wasn’t an original Diana Ross song too. This album was very good, listenable and entertaining, and much more likely to find success in the charts, if it was released during a less busy period in Miss Ross’ career. She had to promote 3 albums in 2 years, do live performances, give birth to babies, work for her upcoming film projects…!!! too many things to do in 1-2 years! This album, plus the following “Surrender”, are her best early 70s entertaining work, but both were lost in that crazy period. The final song “Close to you” is without doubt among her best solo material!

    • Paul says:

      Hey Luke! See, I DO believe that “Ain’t No Mountain…” is the finest recording Diana ever made; I believe there’s an energy and excitement to the recording that represent her entire persona and career. Perhaps it seems harsh to compare songs to that classic, but because this album was recorded in the same year, I think it demonstrates the wide range of material (in terms of quality) she was working with in those first years. Personally, I’m not sure this album would have been a big success no matter how much material Diana was releasing at the time; I really like many of the songs here, but I don’t quite hear a “classic” in the bunch. This contrasts widely with Surrender — on which EVERY song has the sound of a high-quality classic!

      • spookyelectric says:

        Totally agree with you Paul on this one. ‘Everything Is Everything’ is a nice album, very much of its time and has some lovely moments (not least ‘Doobnedoobne’) but it doesn’t bare comparison to the pair of Ashford & Simpson classics that bookend it in her catalogue. That’s a whole different level of songwriting, singing, arrangements… the works.

  19. Pingback: In Memory Of: Deke Richards | THE DIANA ROSS PROJECT

  20. Mose says:

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  21. Eric says:

    How y’all gonna hate on the album cover? It’s awesome!!! Even beyonce semi-copies it for “dangerously in love”

    I love the original songs on here. How about you and my place are among my fav!

    The long and winding road is among the worst songs ever .,would’ve been cool to hear her perform a cover of “Michelle”

  22. Damecia says:

    Let’s hear it for the album cover! What a gorgeous sight.

    “My Place” is a boring song almost reminiscent of “Let’s Go Up” which is nearly a decade later. It doesn’t hold attention until Miss Ross spoken word bit. I hate how the song comes on with the almost frantic shouting. I agree Paul it would have been great for a 70s sitcom lol.

    “Ain’t No Sad Song” is funky, soulful and playful. I love Ross laid back gritty delivery here. The way she comes on this track drives me crazy. I love the call and response thing that happens with the background singers. I have to disagree with you Paul this song serves a catchy chorus. I would’ve released this as the first single. Something left field and unexpected from Diana Ross. Must also add the horn section is nice too. The lady is such an underrated vocalist!

    “Everything Is Everything” the pet peeve I have with this track is the crazy screaming of “love of my life” lol it is so annoying, but I think this is a far more better and appealing song than “My Place” I like how Diana sings “everything is everything” towards the end. A very nice styling.

    “I’m Still Waiting” definitely the highlight of this album. “Then someone finally came he told me that he loved me, I put him off with lies, he could tell I had no eyes, so he left me” a song filled with such heartache, heartbreak and despair. How could you not sympathize with the woman. Especially with those “come back boy’s” near the end. And those “little girl’s” and the spoken word bit. Not to mention the instrumentation was beautiful. Was the American public “just a fool” for not making this number one?

    “I want to shout Hallelujah!” “Doobedood’ndoobe, Doobedood’ndoobe, Doobedood’ndoo” has always been an odd song and I mean this in a good way. I love how it incorporates so many genres. It’s gospel, soul, pop, psychedelic, and adult contemporary. Ross delivers a great vocal here loves those “ow’s” lol.

    Paul I fully agree that “Come Together” as you say “The first of two Beatles covers, this one is certainly the far superior.” It’s funky, it’s soulful, it’s Motown. I also like Michael’s cover better than the original too even though you really can’t compare.

    Paul I enjoy the MOR-ish “Long and Winding Road” I can’t get down with your critique of it lol.

    You took all the words out of my mouth for “(I Love You) Call Me” lol

    I disagree. I think “How About You” was a great follow up to an incredible song. Not bad at all.

    Everytime I hear the Carpenters’ “Close To You’ I want to sing it like Ross. Great cover!

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