Surrender (1971)

“I roll the dice, 7-11…you’ll either take me down, or you’ll take me to heaven…”

Diana Ross’s third solo album is one of the best of her career, and the absolute best of her early 1970s output.  Not only that, but it’s one of the best Motown albums of the era, period.  This, my friends, is a work of classic soul, featuring the strongest singing Diana Ross would do until the end of the decade and some of the finest songs by writing/producing team Nick Ashford and Valerie Simpson.  Ashford & Simpson had, of course, delivered Diana’s first solo LP, and while there’s not a single song here stronger than the first album’s “Ain’t No Mountain High Enough,” this album as a whole is far superior, more complex piece of work.

Perhaps Surrender isn’t generally placed in the category of great Motown albums because it lacked a massive hit single.  Though “Remember Me” was a Top 20 hit and two other songs made the Top 40, none of them are as instantly recognizable as later hits like “Touch Me In The Morning” and “Upside Down.”  At the time, it was probably also lost due to the fact that it was one of four Diana Ross albums (three studio and one TV special soundtrack) released in less than two years.  It’s a shame that none of the songs caught on the way “Ain’t No Mountain…” had, as a stronger single might have helped push the album up the charts and increase its visibility.

Surrender is also important because it’s the last true soul album Diana Ross would record for several years.  This is due to the fact that her entire career was about to vault to the next level thanks to her starring role in 1972’s Lady Sings the Blues.  In the wake of her Oscar-nominated movie and #1-selling soundtrack, the singer’s entire vocal style would change; she would lose much of the breathy, raw power of her early recordings and replace it with a smooth, sophisticated style that leaned much more toward pure pop than R&B.  Surrender, therefore, is the end of the first phase of Diana’s solo career – a portrait of the singer as young, exciting, vital woman bursting onto the music scene alone in the spotlight – and if it had to end, at least it came with one of the best collections she would ever release.

***

1.  Surrender:  Opening with thunderous, repetitive piano playing and a driving percussive beat, the album’s title track is immediately more fiery than anything Diana had thus recorded in her solo career.  The clever, playful lyrics are as memorable as those in the brilliant “Keep An Eye” from Diana’s solo debut, and the singer is completely committed to them, turning in a commanding vocal performance which erupts into soulful abandon at 1:30, when she begins her ad-libbing with a dazzling “Ow!” reminiscent of her work during the climactic chorus of “Ain’t No Mountain…”  Valerie Simpson’s piano work here is absolutely stunning, displaying a strong gospel influence, and the rest of the Funk Brothers turn in impeccable performances.  Though it’s not the strongest song on the album, “Surrender” is a perfect opener, and shows Diana Ross at the absolute top of her game.  Though it was released as a single, it wasn’t a major hit for the singer; in retrospect, this might be because it was too soulful a song for a singer with such a broad pop fanbase.  This is a shame, because if more people were aware of work like “Surrender” and other songs on this album, there’s no doubt Diana Ross’s abilities as a vocalist would be given much more respect.

2.  I Can’t Give Back The Love I Feel For You:  The complex, soulful, slightly dark vibe set by the opening tune is continued here, in a song I’d argue showcases Diana Ross’s strongest vocal performance until her work on The Wiz soundtrack seven years later.  A song previously recorded by Rita Wright (Syreeta) and even Diana Ross as part of the Supremes, Ashford & Simpson here arrange it in a similar style to “Ain’t No Mountain…” in terms of spoken passages, sung refrains, and passionate, over-the-top climax.  As with “Surrender,” the instrumental track here is superb, featuring another fabulous piano performance by Simpson and a prominent bassline, along with blaring, memorable horns that help whip the song into a frenzy during its final minute.  Diana Ross gives an impassioned reading of the lyrics for the first two and a half minutes, but as soon as she belts out the lyric, “…’cause it will grow ‘til the world won’t go ‘round…NO MORE!” she transforms into a soul singer on par with any other.  In the liner notes to the re-release of this album, Valerie Simpson says Diana’s ad-libs at the end of this song are “in the stratosphere!” – and I couldn’t put it any better than that.  The incredible range and power on display here, as with her work on the preceding track, should be enough to silence any critics who say Diana had a limited vocal ability.  This song is one of the undoubted highlights of Diana’s career.

3.   Remember Me:  The album’s biggest hit, this was a Top 20 success and the single that immediately followed the #1 “Ain’t No Mountain…”  Though it’s not necessarily considered a classic in quite the way her other solo hits are, this is a great single and features another strong vocal performance by the singer, who continues to showcase a power in her voice that she’d rarely used while with the Supremes and had mainly subdued in her Everything Is Everything album a few months earlier.  Once again Ashford and Simpson display an ability to produce a timeless song; while this undoubtedly sounds like an early 1970s production, it doesn’t have the dated, almost-campy feel of many of the productions on Everything Is Everything.  The backing vocals are particularly soaring on this track, and it’s to Diana’s credit that they don’t outshine her at all, but enhance her own performance.

4.  And If You See Him:  And Ashford, Simpson, and Ross make it four in a row with this song, another glorious slice of 70s pop/soul that opens with heartbeat-like guitar/bass notes that set a nice tone of urgency which Diana matches in her vocals, especially during the swinging chorus, in which she really lets loose.  Unlike the previous three tracks, there are no backing vocals here, so this is a nice chance for Miss Ross to totally command the song, and she does so easily.

5.  Reach Out, I’ll Be There:  The first (and only) song not written by Ashford & Simpson, the duo nonetheless arranged the classic Four Tops hit into something that sounds like one of their originals, aping their own “Ain’t No Mountain…” formula of slowing it down and letting it build slowly to a thunderous finale.  I have a feeling many fans are split on this song; though it was released as a single, it was only a moderate hit and certainly isn’t considered a classic among her catalogue.  That said, I think it stands as a major highlight of both the album and of her whole career; while it might pale somewhat when compared with the masterpiece of “Ain’t No Mountain…,” it’s a brilliant piece of work on which Diana displays some gorgeous vocal work.  Her crisp, smooth vocals during the first three minutes of the song foreshadow her work in Lady Sings the Blues, as she lags behind the beat with the command of a seasoned jazz singer.  There’s also a roundness to her high soprano here that was often missing in her earlier work; she could sound brassy when going for high notes on her later-Supremes tracks, but here her voice is as clear as a bell.  That said, she matches her fantastic, soulful work on “Ain’t No Moutain…” at the end of this song, when, at nearly four minutes in, we finally hit the “I’ll be there” climax.  As with “I Can’t Give Back The Love…,” Diana’s voice absolutely soars here, belting out notes heretofore unheard of in her career.

6.  Didn’t You Know (You’d Have To Cry Sometime):  Perhaps not as immediately grabbing as the five superb songs that precede it, this song  — originally recorded and released by Gladys Knight and the Pips – is still a good addition to the album and a nice piece of early 70s soul.  The fact this is probably one of the two or three weakest tracks on the album speaks to what a great album this is; on either of her two earlier releases, this song would be a stand-out.  However, in the context of a work that includes such strong singing and production, it tends to get lost of a little.

7.  A Simple Thing Like Cry:  Another song featuring extremely strong vocals from Diana, the lyric here isn’t as memorable as “Surrender” or “Remember Me,” but it’s saved by great production and the passionate, reaching vocals, especially in the last minute of running time.  Diana pushes the top of her range here, as in “Can’t Give Back The Love…,” and she sounds especially full-bodied as she wails the word “cry” several times toward the end.  There are moments here, as with so many other songs on this album, that are goosebump-inducing — the power and emotion in Diana’s voice is that stunning.

8.  Did You Read The Morning Paper:  Similar to her previous album’s “I’m Still Waiting,” this is a story-song – the lyrics here tell the tale of a woman who sees a picture in the newspaper of her lover…with another woman.  Because Diana Ross is a superb lyrical storyteller, the song works; in the hands of a less-talented artist, it might be plodding.  Diana more than handles the couple of key changes toward the end of the song, her voice in full command of the challenging tune.

9.  I’ll Settle For You:  After eight straight songs that push Diana Ross to new, emotional heights as a singer, this pretty, melodic song gives her and the audience a chance to relax.  An album with such a dizzying succession of soulful and shattering songs needs a track like this to break up the pace a little, and this is a perfect addition to the album.  Diana’s voice is gorgeous, singing simple rhymes that sound almost like passages from a children’s book.  The understated production and backgrounds provide a perfect musical bed for the lead vocal.  Had it been released to pop radio, this song would’ve easily stood beside other early 70s “AM Gold” hits and probably could have done well for the singer.

10.  I’m A Winner:  An upbeat, funky track in the vein of Everything Is Everything’s “Ain’t No Sad Song,” but surpassing that song thanks to the presence of a stronger hook and clever lyrics.  Originally cut on Martha Reeves & The Vandellas, Diana Ross is a perfect match for the material, with her aggressive vocals attacking the song and nicely interpreting the message.  “I’m A Winner” serves as an interesting counterpoint to “Surrender” – both are energetic, in-your-face pieces of soul, but while the title track of the album has a staccato, slightly discordant (and thus darker) instrumental, this tune is a feel-good one, and nicely builds upon the sweet “I’ll Settle For You” while requiring a much more energetic performance from Diana and company.  This is another performance that flies in the face of those familiar only with Diana Ross’s later work with Michael Masser, and thus convinced she wasn’t a “soul singer.”

11.  All The Befores:   The album closes with this beautiful, haunting ballad that it one of the best on the album and one of the great hidden gems of Diana’s solo career.  The song is certainly the most complex that Ashford & Simpson had delivered to Diana Ross over their two albums with her; the phenomenal instrumental track features piano and string arrangements that sound almost classical in comparison to the songs that come before it.  Diana, meanwhile, carries the challenging melody and lyrics with one of her most impressive and understated performances, and gets a chance to use her lower register on lines like “…loving you stronger than ever” – during which she hits low notes that sound startling coming from the same singer who’d wailed to soaring heights on earlier songs.  The song is probably way too slow to have ever been considered for single release, especially given that there’s not even any singing on the last full minute of the song.  It is, however, one of the most beautiful ballads Diana Ross ever recorded, and probably one of the most beautiful that had come out of the Motown studios up to that point.  It’s also a perfect way to end the album, carrying forth the theme of beautiful yet darker songs that are often focused on the negative side of being in love.

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

***

Again, Surrender was released about a year before the soundtrack to Lady Sings the Blues, and thus would become totally lost in the whirlwind of publicity surrounding Diana Ross’s triumph of acting and singing in the film.  This is, however, a triumph of singing on its own, and deserves greater appreciation amongst soul and Motown aficionados.  Diana Ross fans already know of the great treasures this album holds, but it’s been criminally ignored by lovers of 70s souls for far too long.  It would be awhile before Diana would make another album this consistently strong, and it’s a work that she as well as Ashford & Simpson should hold in high regard; this is an album made by artists at the top of their game, and there’s not a single bad song on the entire set.

Final Analysis: 5/5 (A Definite “Winner”!)

Choice Cuts:  “I Can’t Give Back The Love I Feel For You,” “All The Befores,” “Reach Out, I’ll Be There”

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About Paul

Album-by-album, track-by-track, a look at the entire Diana Ross discography...
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30 Responses to Surrender (1971)

  1. Paul says:

    Hey guys — I normally post on Sundays but put this one up a day early because I’ll be out of town tomorrow — hope you enjoy — I LOVE this album, as you can tell 🙂

  2. Lawrence says:

    Great review again! I couldn’t agree more. I also think track # 2 — “I can’t give back the Love” — would have been a very strong single.

    Best, Lawrence

  3. Paul says:

    Lawrence — it’s a great song, isn’t it? It really seems like Motown kind of messed this one up — better single released and promotion, and maybe it would have gotten the kind of attention it deserved!

  4. wayne2710 says:

    Agree all the way with what you say here. This one album was proof to me that she had left the Supremes way behind her. It had NO filler on here , every track was superb. Always wished that EMI had got their act together and released I Can’t Give Back as a single here in the UK. It had the potential to be as big here as I’m Still Waiting.

  5. ejluther says:

    I’m really loving your blog posts and appreciate all the love, hard work and thought you’re putting into them. The best part is that I’m being inspired to revisit the music of Diana Ross and it’s simply wonderful…thanks!

  6. Paul says:

    Ejluther — your comment is so amazing — thank you! I’ve been wanting to do this for so long, and I’m also enjoying going back though all the music I’ve forgotten or ignored from Diana. Hope you continue to enjoy my reviews…and don’t disagree with me too much!! 🙂

  7. spookyelectric says:

    Paul once again thanks are due for what a great job you’ve done on this blog. Having only discovered it a few weeks ago I’m now going back and reading some of these earlier posts.

    Absolutely agree with you that ‘Surrender’ is one of the best sets of her career. I knew it originally as ‘I’m Still Waiting’ as it was released it the UK (with the addition of that song as it had been such a massive no 1 hit here). ‘Still Waiting’ was placed as the opening track which of course made marketing sense to Motown UK but ruined the record in my opinion. The album as you say is one complete piece as crafted by Ashford & Simpson. ‘Surrender’ itself is one of my favourite Diana singles ever (literally one the other end of the spectrum in her repertoire to ‘Still Waiting’).

    Once again, Nic and Val selected tunes perfect for Diana and she invested them with complete conviction. ‘I’m A Winner’ has always felt like another theme tune for her to me. The dramatic arrangement ‘Can’t Give Back The Love’ easily make it the best version, surpassing even Dusty Springfield’s (and Kiki Dee’s and Rita Wright’s!) and ‘All The Befores’ is stunning.

    But for me one of the best tracks here – a real ‘sleeper’ in her catalogue – is ‘And If You See Him’ – it’s a strange, off centre song, almost like an interlude, and quite unlike anything Motown, Ashford & Simpson and/or Diana did before or after. Diana’s storytelling ability shines on the track and she handles the tempo shifts so effortlessly – can you imagine a song as intelligent and musically complex as this being on the radio today? Actually you can extend that to almost any of the songs here really!

    • Ditto on what everyone said. How Surrender was not a hit single is baffling. I actually much prefer the Alternate version of Cant Give Back the Love, without all the over-dramatic lyric reading, which, although a popular Ross signature, can sometimes border on pandering or overwrought camp. Sometimes you can almost hear the echo of a long ago directive toward the working producer at the time — “We need a guarantee hit record. See if you can get Miss Ross to do another one of her spoken word passages on this next take. You know, like she did with those girls or on that Mountain song that was such a big hit a couple years ago.” The majority of the songs on the album immediately moved to my “Most Played” list, and continue to be, even long after my 24/7 emergency Diana period ended. I concur what a shame this album got lost in the crowd of the “Let’s make sure Diana Ross makes it in her solo career” trajectory and frenetic output. Imagine had this album been held until after the Lady Day period and then hit the public and critics dead-on following the LSTB success. Then a year later follow up with Touch Me, thereby closing the gap of years between TMINM and Mahogany. Even with throwing Last Time I Saw Him into the mix, I think had the releases between 70 and 75 been better planned and conceived, her solo career kick-off could have been a similar story as what became of her work in 60s–year after year of hit records, in concert this time, with hit albums to correspond with the fast evolving trend of album oriented 70s music. But, a Thursday morning quarterback is the easiest missive to make, and my ignorance in the music biz is probably showing. Again, just glad to see my personal opinion, formed last January without any external influenc, is right in line with all the esteemed experts on your “Project.” Perfection in review. Thanks!

    • Damecia says:

      Agree with everything you said Spooky in your final paragraph

  8. dishy says:

    I just found your website! (Where have I been!) I am loving everything – but must post a remark re: Surrender – truly her finest moment until ‘diana’. Just brilliant! THANKS MAN!

    • Paul says:

      Thanks! Glad you found the site and please…comment lots!!!

      • SpringAffair says:

        Hey Paul! Great job by the way reviewing all these Diana gems!
        Im 19 years old, and I became a Diana Ross fan a few years ago… She is truly an amazing singer, and I have most of her albums…well the 1970’s ones anyway. Surrender remains one of my favourites! Its hard to pick a favourite song from this album because they’re all sooooo amazing…. I think And If You See Him is one of the best, and I Cant Give Back the Love I Feel For You…. and you’re right! My Goodness, during the last minute of that song Diana hits some increadible notes, peaking at the G#5 (A VERY high note) especially when hit in the upper chest register! Just goes to show Diana had a huge range!! Most female singers when hitting a note like that would go into their head voices, but Diana resists the switch, and instead takes the more difficult, yet most dynamic route, and goes for the full voiced sound, which of course sounds fantasically robust, even if it was at the top end of her register.

        My God! She was a tour de force back in her hey day! I wish she had looked after her voice more… Ive listened to her later stuff from the 1980’s etc, and her tone became weaker and lost its high arching Soprano edge.

        Surrender was her greatest triumph in showing her true soulful vocal ability.
        Even “the Boss” which came about 8 years after this album, didnt live up to Surrenders standards…..
        The Boss was weak in areas..like that song “Im In the World”!! Yikes!! as well as “Sparkle” and “All for One” are also pretty dull too.

        The fact is Surrender had NO weak songs. Every song, even “Baby Ill Come” is AMAZING, well crafted and sexy.
        I adore Miss Diana Ross!! these 1970’s gems are just INCREDIBLE!!!

        Anyway, Paul, Ill be checking out more of your reviews!! 🙂

        SpringAffair (a.k.a George)

        🙂

      • nycdishy@aol.com says:

        HI PAULIE! I am really enjoying your site – it’s fantastic – plus it’s making me re-evaluate all these Ross releases – of which I will post in your site! In any event – I have a huge RECORD collection and have every Supreme/Ross release on Vinyl up to an including “Workin’ Overtime” – question: were the later Motown releases also available on vinyl?

        Please let me know!

        THANKS! BTW Where are you?

        Peter

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  10. Damecia says:

    If someone were to ask me to show them Diana Ross’s best collective & vocal work this is the album that I would present to them. There’s not a bad song on here.

    Surrender comes on banging! Thanx to Paul I now know that Valerie S. was rockin the keys and I just love the low and soulful way Miss Ross comes on the track with “I want the love that you denied me that I need so desperately” Not only is the lyric intriguing, but Ross’s delivery leaves you wanting to learn more of this woman’s story. Not to mention the background singers were on fire with those “Surrender, Surrender’s” I love to hear them close the song. Ross’s ad libs are also quite entertaining.

    I Can’t Give Back The Love I Feel For You I love the opening with the horns, the spoken parts, the chorus and then Ross really gets into and there’s no turning back. Again the background vocalist rock. Also, again credit should be given to Ashford & Simpson their lyrics are superb.

    Remember Me IMO opinion is Ross’s second “theme song” second to “Ain’t No Mountain.” By this I mean if Ross biography was done to music and you had to pick one song to play while showing her life story these 2 songs will be it. This songs makes me reminiscent every time I hear it….well that shouldn’t be a surprise though because it is called “Remember Me” lol

    And If You See Him is the most underrated song on this album and perhaps in Ross’s entire catalog. Here her vocals are double tracked which I don’t believe we’ve heard since “You Keep Me Hanging On.” I’ve always wondered if the song was meant to be that way or if the producers played to vocal takes together and decided that they like 2 instead of one. It makes for an interesting hearing and somewhat makes this woman story even more sad. Plus Ross hits alot of vocal heights toward the end.

    Reach Out, I’ll Be There way better than the 4 Tops and Ross totally kills the vocals. If you doubt her ability when it comes to reaching notes here this song. Also, another underrated song of hers. Ashford & Simpson really knew how to build up a song to climax and the resolution is always a great ending. They really knew how to tell a story with a song from the lyrics to the instrumentation.

    Didn’t You Know (You’d Have To Cry Sometime) this is the song I will have to disagree with you Paul. To say this song is not “as immediately grabbing as the five superb songs that precede it” made my eyes burn, lol, when I read that. IMO this is the stand out song of the album. The BEST song off the album. From the dramatic opening to the wonderful chorus, to the heartfelt delivery Ross gives, to the background vocalist creeping in the same way they open the song after the second chorus around 1:56.

    A Simple Thing Like Cry: is great lyrically & vocally. Love the piano here!

    Did You Read The Morning Paper gets off to a slow start to me, but the story of it all makes this a must listen too.

    I’ll Settle For You is a good song. I love the beat it is perfect to sample. Ross sings this song sweet as a lullaby. If release as a single no doubt in my mind this would’ve been top 10.

    I’m A Winner is the funkiest song on this album. The opening line automatically grabs you, This track is pure funk & fun. Did Ross ever sing this live? With the horns and background vocals this would’ve been great to do live.

    All The Befores is my least favorite song on this album. I’ve never been able to get into it. I would’ve preferred if “Baby I’ll Come” made it unto the album instead of this.

    • dishy says:

      Give “ALL THE BEFORES” some time…… as you get older it will make more sense. You are a fantastic write, Damecia!

      • Damecia says:

        Okay I believe you. Songs I hated when I was 12, I now love and understand at 20. lol. By the way thanx for the compliment.

      • dishy says:

        WRITER is what I meant type… you have great way with music appreciation review. the “diana” album (ain’t no mountain) and “surrender” – I feel, are her best vocal triumphs. I feel bad for her – I went through a huge hating her phase (as most people did) and then rediscovered her and forgave her for her horrifying behaviour to her ‘supremes’. Not easy being Diana Ross. HOWEVER – Cher is is till being Cher, so ……….

      • Damecia says:

        Well thanx again! LOL. I live for music so I guess it comes through. Hate Miss Ross? LOL I don’t see how that is possible. Of course I discovered Diana in the 90s, so I missed out on everything really, but I’ve always admired her work ethic, focus, determination and glamour. As a singer, I listen to how a singer interprets a song and Diana never failed to give some emotion also her phrasing, even before Lady Sings the Blues was really wonderful. Cher is another one I love. I love she still has her spunk and wits about her lol. Guess I have a thing for divas.

        Here’s my singing a Motown cover

      • Paul says:

        Dishy,
        You are 100% correct. “All The Befores” is a triumph, and a song that takes a little “life experience” to appreciate. Lyrically it is stunning — and Diana interprets it perfectly. It is, I think, one of the great ballads of Diana’s discography — certainly one of the hidden gems.

      • dishy says:

        I think it is a shame she has not brought that back to her live performances …there is such a majestic quality to the piece and how the piano keeps reaching for another octave and then another …. it’s really one of her hidden gems. That said, the entire SURRENDER album is actually a gem! As for another hidden gem – what do you hear about the “Baby It’s Me” release?? I thought that was going to be spring and “Ross” to be fall??? Grrrrrrrrr!
        XO

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  14. TouchMe says:

    This album (to me) has always been a mixed bag. It has great highs and boring lows. Overall, I feel her solo debut was stronger, and to be honest, EIE had stronger tracks overall (yet WEAK AS HELL TRACKS..)

    Best: Surrender, And If You See Him, Remember Me, I’ll Settle For You, Did You Read the Morning Paper

    Worst: Everything else? I am sorry…it’s just bogged down by this murky soul feeling. Perhaps I cannot appreciate the artistic merit, but if you say, compare this song to a highlight like “Dark Side of the World,” it just falls flat.

    Remember that A&S were about to leave MOTOWN at the time, and perhaps were not giving their all. Now yes her vocals are soulful, but I think she did much better before and much better after.

    And what’s with the cover????

    • Paul says:

      Hey! I understand why some people don’t “feel” this LP — but I think it’s easily in her top 3 best complete albums. I don’t think Ashford & Simpson were uninspired at all — in fact, I think they really upped the game with darker, more complex songs. Valerie Simpson has noted in interviews that they really wanted to challenge and push Diana as an artist, I think SURRENDER is the result of that. Diana had never sounded more assured and confident, and sang with a gutsy emotion that I believe was lacking in some of her earlier work (with and without The Supremes). And OMG…I LOVE the cover! It’s classic 70s — and I think it’s a perfect fit for the music inside! Ha ha…I have the album cover framed on my wall…so I guess to each his own 🙂

      • dishy says:

        Hey guys! TOUCH ME – I would like you to listen to this again and think about Diana at this point in her career … this is actually her second solo release – Everything Is Everything was a mish mash of singles and cuts to rush release for the popularity of “I’m Still Waiting” in the UK.
        She was looking for a soul approval, hence the gorgeous portrait of her with an afro by Harry Langdon. Hoop earrings and all!

        Paul – I agree – her three best LPs would be diana ross (ain’t no mountain), diana (nile rodgers) and this, SURRENDER!

        I think this plays beautifully from start to finish; her vocals are fresh and alive – every cut on side one / I can’t Give Back The Love / Remember Me / And If You see Him / Reach Out (quite an inspired of what must be the most recorded Motown song!) – they are smooth and soulful.

        Side 2 with DIdn’t You know / A Simple Think Like Cry (weak) – followed by Did You Read The Morning Papers and the an amazing trio of unbelievable Ross deliveries: I’ll Settle For You, I’m A Winner and ALL THE BEFORES – which is one of her most delicate vocal deliveries – TOUCH ME – you need to listen more. Maybe smoke some pot LOL.

        As for the bonus tracks they are amazing – this is when Diana was truly interested in delivering great vocals in the studio – as she had been drilled by the Motown machine – and before her ego got the best of her! This is an amazing piece of music!

        Give It Another Chance! Let me know!

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